Bee Gees – Mr. Natural (Album Review)

When you think of the Bee Gees, Mr. Natural is likely not an album that instantly comes to mind. Still, the more you listen to this classic release, the more you realise that it’s one of the greatest hidden gems in not only the Bee Gees’ illustrious career but in all of recorded music history.

Released in 1974, Mr. Natural marks a transitional period in the group’s evolution, as they began exploring a more contemporary soulful sound that incorporated elements of rhythm and blues, funk, and rock. Interestingly, it’s not entirely representative of their earlier works nor the disco-driven vibe that would catapult them to superstardom and define an era. Mr. Natural sits precariously in between their old and new styles, yet there is connective tissue to be heard throughout and it’s thoroughly enjoyable and perfectly suited to the trio.

While Mr Natural didn’t achieve commercial success, it remains a pivotal album in the Bee Gees’ discography and demonstrates their willingness to experiment with new directions; an essential aspect should the world of music long to hear sensational disco-driven releases such as Main Course and Spirits Having Flown.   

As we’ll come to see, as we peruse the songs that make up this hidden gem, the music is but one part of the album experience for the album artwork, much like the music, grows on you the more you look at it. Initially, it appears a little drab and uninspiring, but it melds perfectly with the chosen selection of songs and adds to the overall album experience.

Of course, the greatest album artwork would be for nil if the music contained within was lacklustre and while it is anything but, the lossless CD-quality Apple Music stream also sounds exquisite. There are no glaring omissions to concern ourselves with and you’ll find a soundstage that is wide and enveloping, with enough space between each musical element, allowing every aspect of the recording to shine. While mastering is essential, and in this case, it is ideal, when music is recorded and mixed this well, then the only thing left to do is to grab a coffee, sit back, and enjoy.

Charade isn’t an ideal opener, despite being a lovely ballad. The problem is it lacks a hook, one that will draw you into the music and the album itself. It isn’t, however, until you play the album multiple times that you start to appreciate Charade for its gentle yet melancholic melody that evokes some of the Bee Gees’ earlier 60s-styled recordings.

Throw A Penny introduces a more contemporary, soft rock-influenced sound, building momentum with its smooth groove and layered production. I can’t help but wonder if Throw A Penny would not have been a better opening. Nevertheless, it’s an exceptional song and the shift between the slower delicate verses, and the slightly more upbeat chorus that blends elements of R&B and Soul, is simply exquisite.

Down The Road flows seamlessly from Throw A Penny yet smoothly transitions the mood to that consisting of a bluesy, rock-and-roll vibe. Add to that the carefree swaggering groove, with a lively beat, and you’ve got yet another exceptional hidden gem from the Bee Gees.

Voices shifts the tone with its eerie slow-burning arrangement that makes me immediately think of songs such as Massachussetts and New York Mining Disaster 1941. To say that Voices is a masterpiece would be a just statement for it’s a magical song.

Give A Hand Take A Hand is an uplifting soulful ballad and while the Bee Gees’ vocal prowess is not a point of contention, the vocal skill heard here is second-to-none as Barry Gibb has rarely sounded better. Subsequently, this vocal-driven number is a standout from Mr. Natural and another of those hidden gems that really need to be appreciated for the hits are one thing, but Give A Hand Take A Hand is musical gold.

Dogs will captivate you with its fluid melody, particularly throughout the verses and chorus. Additionally, that mid-tempo shift in the bridge is pure genius. Not to sound like a broken record, but given Mr. Natural was all but ignored when released, it’s songs such as Dogs that need to be shared with fellow music lovers for casual fans of the Bee Gees have no idea of the exceptional music they’re missing out on.

Mr. Natural was an interesting choice as the title track as it’s a solid song with an infectious groove and funky bassline, but it’s most certainly an album-only tune, despite being released as the album’s first single. It just doesn’t hold one’s attention as much as many of the other songs on the album do.

Lost In Your Love slows the tempo down again with this delicate ballad, offering a tender moment. The arrangement is sparse, allowing Barry’s magnificent vocals to take the spotlight, thereby ensuring that Lost In Your Love is another memorable experience.

I Can't Let You Go has a killer riff, as the song brings an upbeat rock-oriented style to the record; one that melds perfectly with the Bee Gees’ overall style and harkens back to their origins.

Heavy Breathing continues the upbeat nature with this jazzy groove-focused tune that is perfectly suited to the era. If you’re not toe-tapping and head-bopping to this number, you’re listening wrong for its rhythmic gold with some exceptional musicality, particularly from the brass section to the ripper guitar licks. The bottom line is that Heavy Breathing is one Bee Gees song that should not be overlooked.

Had A Lot Of Love Last Night is, arguably, the greatest closer, from any album, in the history of recorded music. Not only is it uplifting, but it’s reflective, as well as encouraging the listener to play the album again. It also happens to be the most beautiful song that the Bee Gees has ever recorded that almost no one has ever heard. Had A Lot Of Love Last Night is so beautiful that I’d even argue that it’s the best song the band ever recorded; it’s that impressive!

In conclusion, Mr. Natural was a crucial, though often overlooked, album in the Bee Gees’ discography. It marked a period of experimentation and transition, as the group adapted their sound in preparation for their later success in the disco era. The album’s blend of soulful ballads, rock, and subtle R&B influences helped set the stage for what was to come, and it remains a thoroughly pleasing listen for those curious about the Bee Gees’ musical journey, beyond their chart-topping hits.

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Bee Gees – Main Course (Album Review)

Released in 1975, Main Course marks a significant turning point in The Bee Gees' career; one that would also contribute to major shifts within the music industry during the following years. Departing somewhat from their signature harmonious ballads and melodic pop, Main Course ventures into the realm of disco, a genre that would soon catapult the brothers Gibb to even greater international stardom than they had already experienced. Funk, rhythm and blues elements are also present throughout, but it was the Bee Gees’ musical skill that permitted a merging of the genres into a coherent sound that was not only startling at the time, but long-lasting and thoroughly appreciated by music lovers to this very day. 

There’s no doubt that the shift in style would have had its detractors but part of an artist’s journey should be an evolution, for few are successful in recording the same type of music over and over again. The stylistic shift would also revitalise their career, following a few less-than-stellar releases in the prior years. Whether or not you embrace the disco-infused sounds of the Bee Gees, one thing is for certain, they embraced the new sound that was not only fresh but also timely, aligning with the disco fever that was sweeping the globe during the mid-70s.

Naturally, Main Course boasts several iconic hits that were perfectly aligned with the zeitgeist upon release, but songs such as Jive Talkin’, Nights On Broadway, and Fanny (Be Tender with My Love) remain as fresh today as when they were released. While there may never be another band, or artist, quite like the Bee Gees, their music lives on for generations of music lovers to enjoy as they make their way to the dance floor. 

While a focus is most certainly on the disco vibe, to say that Main Course is solely a disco album would be disingenuous for the melodies and harmonies still exist with a touch of funk, soul, and pop. Main Course is, really, quite a diverse record. 

Aside from the music itself, part of the album’s appeal is due to its slick and polished production values. Working with the legendary producer, Arif Mardin (who also produced their 1974 release, Mr. Natural), the Bee Gees were helped in elevating their music to new heights and that included a greater focus on Barry Gibb’s falsetto vocal. Of course, with such a producer behind the scenes, and the Bee Gees already well-established by this time, the result is a sonic wonderland that is best heard firsthand as words are insufficient to describe the musicality that will be emitted from your speakers. 

The high production qualities thankfully make their presence felt on the CD-quality stream and while Main Course isn’t presented as an Apple Digital Master, the record is delivered nicely with an enveloping sound stage, clarity between elements, and a boogie rhythm that will get you moving. Is it perfect? Well, that aspect is truly subjective, but I wouldn’t reject a respectfully remastered edition with a little boost to the low and mid-range aspects of the sonic spectrum. Of course, adjusting one’s EQ settings can bring it into line with expectations but what I can say is that if this is the only master available to music lovers, then we’re incredibly fortunate for it's quite lovely. 

Nights On Broadway opens with a funky bassline and pulsating rhythm that’s a masterful accompaniment for Barry’s falsetto and Maurice and Robin’s vocal harmonies. It’s a magnificent tune that is not only an ideal opener but harks back to the mid-70s and the emerging musical styles of the era.

Jive Talkin’ is, arguably, the most iconic track from the album as this disco anthem showcased the Bee Gees' transition into the genre. With its infectious groove and catchy guitar riff, there’s little doubt as to why Jive Talkin’ became an instant hit.

Wind Of Change is best described as lush. The musicality, the vocals, and every aspect have a succulent appeal that immediately grabs your attention. While Wind Of Change was never released as a single, the catchiness of the song had the potential to be a minor hit had it been released. It, subsequently, is a hidden gem and is deserving of more recognition than it has received. 

Songbird is a departure from the disco sound that dominates the album. Instead, we’re met with an absolutely beautiful tender ballad that is saturated with raw emotion and sincerity. It really is one of the greatest vocal-focused performances the Bee Gees ever recorded and is another song that is severely underrated. 

Fanny (Be Tender With My Love) returns the album to its more upbeat groove and while it has all the hallmarks of a disco tune, it’s the melding of rhythm and blues, with a touch of soul, that ensures this song remains memorable with it’s catchy melody and infectious rhythm. 

All This Making Love would traditionally have opened side two of the vinyl release and while it makes perfect sense in that format, as there’s a longer pause between songs when flipping sides, it can present a slight jolt to the senses in the modern era. On its own it’s magnificent but in the flow of a digital album, be it streaming or CD, the funky, upbeat tempo rhythm that exudes energy and swagger is too much of a sonic shift to ignore and the subsequent brilliance of this song can be lost as a result.

Country Lanes offers listeners a sonic respite filled with a folk-inspired melody and evocative lyrics that make for an ideal reflective ballad. The song's gentle instrumentation and lush harmonies create a sense of intimacy and nostalgia, transporting listeners to a simpler time and place.

Come On Over continues the ballad-inspired style with a touch of country influence. It’s the quintessential album-only tune and while not filler, it’s unlikely that you’ll seek it out on its own.

Edge Of The Universe is a fantastic atmospheric number that works masterfully with the song's hypnotic rhythm and swirling synthesisers. It’s a hidden gem, certainly, and if it doesn’t connect with you immediately, may I suggest you listen to the song a couple of times as unpacking this multi-layered recording will allow you to fully explore the magnificence of the song.  

Baby As You Turn Away closes the album on a high note with a ballad style that has a haunting melody accompanying the emotive lyrics. It’s masterful and is the perfect album closer; one that permits reflection whilst simultaneously encouraging you to play the record again.  

No matter which way you look at it, Main Course is a landmark release that showcased the Bee Gees during one of their most creative periods. With its irresistible grooves, magnificent vocals, and captivating lyrics, Main Course remains a classic album and is a testament to the enduring legacy of one of the world's most iconic groups.

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Bee Gees – Spirits Having Flown (Album Review)

Many would point to the Bee Gees as the kings of the disco era, subsequently typecasting them to that genre, but their diversity throughout their back catalog showcases that they were more than a bell-bottom-wearing flash-in-the-pan band. Spirits Having Flown was, after all, their fifteenth studio album but what the Bee Gees did better than anyone else during the disco era was to lean so completely into the style that there was no room for doubt as to their intentions and aspirations. The result is some of the very best pop music, with a disco vibe, ever recorded; particularly from 1979.  

Yes, the incredible Saturday Night Fever soundtrack, Children Of The World, and Main Course could also be regarded as some of their greatest works, but there’s something special about Spirits Having Flown that I’ve never quite been able to quantify. Perhaps it’s that it signalled, in retrospect, the end of the era for their 1981 release, Living Eyes was somewhat of a disappointment as the Bee Gees dramatically shifted their focus back to pop-styled music; a style they had not applied continuously since the 1974 release, Mr. Natural.

As it pertains to the sonic qualities of Spirits Having Flown, I’ve yet to be blown away. The music is extraordinarily good, as is the mix, and I never tire of the focus placed on Barry Gibb’s falsetto vocal, but the remastering heard on the lossless Apple Music Stream is merely adequate. Think of it this way, it’s not bad, not by any means, but it could be so much better. A minor contradiction, yes, but the remaster is a little too clean and sterile and thereby loses the emotive element. There is additional hope, however, as in 2020 a vinyl reissue was released to little-to-no fanfare; always a concern especially considering the status of the Bee Gees, but as I’ve yet to hear it, I will reserve any further comment until I actually obtain a copy and update this review. 

The album artwork is iconic, and subsequently picking up a vinyl copy is worthwhile for that very reason, yet I’ve never fully comprehended the red swath at the base of the album cover. What it represents is lost to me but it does strangely make the artwork stand out from the crowd; a key aspect when releasing albums in an era where the visual element was as important as the music itself.

Tragedy is not only a quintessential Bee Gees song, but it was the ideal choice to open the album on. Rhythmically charged, with some killer guitar moments, and arguably only beaten in that regard by Stayin’ Alive, Tragedy is one of their very best recordings and while the Bee Gees catalogue is extensive, traversing several styles and genres, few would argue that this song doesn’t belong in a Top 10 list of the best Bee Gees songs ever recorded. Magnificent!

Too Much Heaven is a majestic ballad with symphonic and intermingling vocal elements that prove just how essential it is to get the mix right. The orchestral musical accompaniment can’t be understated for it forms the overall sound of the song, but it is the combination of all elements, perfectly positioned in the soundstage, that makes Too Much Heaven a timeless masterpiece.

The music video is, for lack of a better term, perfect! Recorded in a studio environment, and also lacking the rhythm that made videos such as Stayin’ Alive so popular, it maintains an interest because it plays to the beloved harmonies of the Bee Gees. When watching the music video it also became apparent to me that they would have had to know, at the time of recording, just how well Too Much Heaven would be received for even the most self-critical person couldn’t deny a masterpiece was in the making. To say I would have liked to have been a fly on the wall is an understatement and I can only imagine how exciting it would have been to have been part of the Bee Gees’ inner circle during the recording process. 

Love You Inside Out is pure magic; it’ll get you on your feet, dancing, even if you, like I, have two left feet. Besides the rhythm, I long to hear Alan Kendall’s lead guitar work for his licks are incredible and while it isn’t the focal point of the music, the distortion, including the slide, in the chorus, is hypnotic. 

If you’re looking for a killer instrumental cover of Love You Inside Out, look no further than Arturo Tappin’s exceptional jazz-styled version from Inside Out. 

Reaching Out slows the tempo a little but it’s such a beautiful composition that the shift doesn’t detract from the overall flow of the album. While the initial verse structure can be a little slow, once the song reaches the chorus it really takes off and becomes a solid tune in and of itself.

Spirits (Having Flown) gives us a break from Barry’s falsetto vocal, during the verses at least, thereby providing a vocal contrast that strengthens the song overall. It’s a solid title track but, not unlike Reaching Out, it is the chorus that takes this song to another level entirely.

Search, Find is a party starter with some great horns opening things up. The upbeat tempo makes it a great toe-tapper, but it is that bass guitar tracking that gets me every time. Search, Find very well could have been a Motown tune as it has that type of groove but, either way, this is one song that will have you moving towards the dance floor. 

Stop (Think Again), in comparison to Search, Find, is a little sombre but I’d be lying if I didn’t say how much I enjoy this song. For me, it’s the musical elements that make the song. The soundstage is three-dimensional and you feel as if you’re in the middle of an incredible performance that is for you, and you alone. From a production standpoint, it could be argued that Stop (Think Again) is the pinnacle from Spirits Having Flown for as good as the other songs are, they aren't as ethereal.

Living Together picks up the tempo and is most certainly a 70s tune; but who doesn’t like a little nostalgia, especially when it’s this good! 

I’m Satisfied is one corny love song, but it’s a fun little tune that works well within the album structure. I couldn’t imagine Spirits Having Flown without it. 

Until is a lovely vocal ballad but is considerably different from the rest of the songs on Spirits Having Flown and therefore stands out like a sore thumb. That said, Until allows the listener to reflect on the album and the tune itself thereby making it an intriguing closing song. I don’t, however, like the abrupt ending as it seems it would have been better to taper the volume off towards the end of the composition.

While there isn’t a B-side to be heard, one could argue that there is a little too much Barry on vocals throughout. Yes, the harmonies are there, and Robin and Maurice are present, but Spirits Having Flown, like no other Bee Gees album, is most certainly a Barry-first record. Depending on your perspective that could be a blessing for his falsetto vocals certainly deliver an unmistakable signature sound, but as incredible as the entire album is the Bee Gees, in my mind at least, is all about the interweaving harmonies. Regardless, Spirits Having Flown is a masterpiece from the very first note and worthy of inclusion in every music lover’s library.

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