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1991's 'High Civilization' had producer Femi Jiya working with the Bee Gees to create a sound that emphasised percussion, rhythm and abrasive, industrial soundscapes. The result is a departure from the traditional Bee Gees sound, and an album that has often divided opinion. Despite continued lack of promotion and success in North America, the album and subsequent tour proved to be a hit in Europe. Stuart and Cristiano compare their varying perspectives on this album, running through the five songs on side one, and uncovering a lost concept album along the way. Are you ready for high civilization? Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

Across April-December 1989, the Bee Gees undertook a world tour to accompany the album 'One'. With the Melbourne concert appearing in the 2014 'Warner Years' compilation, and a 2018 release of the 'Live In Australia' concert footage, there is plenty of reference material for this all-encompassing tour, and Stuart and Cristiano look through the setlist and compare the live renditions to the original studio recordings. In 1990, the Bee Gees released an extensive compilation titled 'Tales From The Brothers Gibb', chronicling the Gibb catalogue from 1967-89, and Stuart and Cristiano reflect upon this release and its significance. Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

The second side of 'One' continues with the album's smooth, AOR style, with Robin's R&B pop 'Tokyo Nights', Maurice's smoky 'House of Shame' and the album's centrepiece tribute to Andy, 'Wish You Were Here'. Stuart and Cristiano consider the album as released on CD in the UK, with 'Wing And A Prayer' as the closing track, and also discuss the Bee Gees' song for the 1988 Olympic Games. Find us on social medias @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

First released in April 1989, 'One' was the Bee Gees' second offering with label Warner, and like its predecessor 'E.S.P.', it would follow the trajectory of scoring high in Europe whilst struggling with the North American market. Despite this, Stuart and Cristiano discuss the album's American-sounding adult-oriented-rock production, and how this was an album shaped by the recent tragic events in the Gibb's lives. With two incredible ballads, two lead singles and a possible Michael Jackson reject composition, the five songs on side one represent the mood of the album. "Say goodbye, cruel world. No pity, no pain tonight. Whatever the cost, all is lost. And if it's love with no name, then it's all in the stars." Find us on social medias @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

Pat O'Grady joins the show to discuss his publication 'Bee Gees, Process and Latent Elements in Music Production', breaking down his process of constructing the text and how he has interpreted different elements of the Gibb's music, such as examining the use of space and reverb in 'New York Mining Disaster 1941', or competent layering in 'You Win Again'. To find out more about the book and Pat O'Grady's work and career: Research Publications – Dr Pat O'Grady – Music Researcher, Educator and Artist Instagram: Pat O'Grady (@pogmusic) • Instagram photos and videos Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

It was during a stormy drive in the early 1980s that David English and Barry Gibb came up with the carpe diem concept that would become the film 'Hawks', released in 1988. To accompany the film, a soundtrack was released containing mostly new Gibb songs recorded across 1986-88, and this would become Barry Gibb's second solo studio album. Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

Stuart and Cristiano try a little moonlight madness and discuss the five demos for Barry's second solo project of the 1980s. Following on from 'Now Voyager', these compositions see Barry taking a more rhythmic and percussive approach, with long-form song structures that contain winding and developing verses. Vocal split extracts created through LALAL.AI: Vocal Remover & Instrumental AI Splitter | LALAL.AI Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

Stuart and Cristiano explore Andy Gibb's work surrounding and following on from his three studio albums, covering Andy's roles in musical theatre, hosting entertainment shows on television, live tours, and a handful of demos recorded with his brothers. This episode is dedicated in his memory, celebrating the life and music of the youngest Gibb brother. Vocal split extracts created through LALAL.AI: Vocal Remover & Instrumental AI Splitter | LALAL.AI Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

Tim Roxborogh returns to the podcast for a discussion of all things 'E.S.P.', running through the tracks on the album and its legacy. Follow Tim's work here: The Roxborogh Report - Travel & Music. By New Zealand broadcaster & writer Tim Roxborogh. Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

Stuart and Cristiano flip over 'E.S.P.' and discuss the second side of the album, which proves to be an eclectic handful of songs, going from the career-spanning more-rap-less-crap 'This Is Your Life' to the Motown pastiche 'Crazy For Your Love', and all the way to the funky grooves of 'Backtafunk'. Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

In 1987, six years since their last studio album, the brothers returned. Reuniting with Arif Mardin, and equipped with all of the contemporary production effects and studio technology, the resulting album, 'E.S.P.', was a fresh-sounding embarkation into the next chapter in the tale of the Brothers Gibb. Heralded by the chart-topping single 'You Win Again', the Bee Gees were back in the spotlight... at least in most territories outside of North America. Stuart and Cristiano discuss the story of how this album came to be, detailing the brothers' new record deal with Warner, and examine the five songs which comprise side one of 'E.S.P.' Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

Throughout the first half of the 1980s, as the Bee Gees took a break from their band moniker and looked towards writing and producing for other artists, and Barry and Robin explored the next stages of their solo careers, Maurice was all the while tinkering away in the background, writing music intended for the background. This episode explores the soundtrack works (and various leftover compositions) composed by Maurice. This covers 'Living Eyes' era instrumentals, a Marti Webb showtune, a solo single and various film scores, the primary example being the music for 1984's 'A Breed Apart'. Stuart and Cristiano work their way through this eclectic collection of music, shining a light on Maurice's deft synthesiser skills and craft for arranging evocative soundscapes. Find us on social medias @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

In 1985, Maurice and Robin began working with Carola on an album that would materialise in May 1986, titled 'Runaway'. Released in Sweden, the album has since become a lost part of the Gibb discography, often overlooked or forgotten amidst the surrounding Gibb collaborations of the era with established artists such as Kenny Rogers and Diana Ross. But unlike 'Eaten Alive' or 'Eyes That See In The Dark', it was the twins who took the reigns on this project, and as Stuart and Cristiano discuss, the result is an incredibly poppy and synthetic album, carrying forwards many of the styles from Robin's three 1980s solo albums. Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

'Walls Have Eyes' is Robin Gibb's fourth studio album, and the third in as many years in the 1980s. Coming so soon after 'Secret Agent', this album does feel like a natural successor to Robin's 1983 and 1984 solo efforts, but more of a smooth, clean and refined production. With frequent songwriting contribitions from Barry, 'Walls Have Eyes' does have a notable "Bee Gees" flavour, and as Stuart and Cristiano discuss, it could just be the missing album link between 'Living Eyes' and 'E.S.P.' Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.

In 1985, Diana Ross released her sixteenth solo album, 'Eaten Alive'. The next instalment in the run of albums that the Gibbs wrote and produced for their chosen artists, 'Eaten Alive' allowed the Bee Gees the opportunity to pay homage to Motown, delve into mid-80s dance, and produce a set of ballad standards, all fit for Diana Ross. Stuart and Cristiano explore the album and and its development with the available demos, and reflect on its reputation forty years later. Find us on social media @wordsbeegeespodcast. Email us: [email protected] Hosted on Acast. See acast.com/privacy for more information.