“We didn’t categorize our songs as disco, but then we weren’t thinking that way at all. We were just thinking about writing songs based on the discovery of this falsetto voice and how well that seemed to work.” (Barry Gibb, The Bee Gees: How Can You Mend a Broken Heart)
By the end of the ’70s, the Bee Gees had become ubiquitous. Saturday Night Fever won Album of the Year at the 1979 Grammy Awards, one of four music awards they scored related to the film. At one point, the Bee Gees and their younger brother Andy Gibb held five of the top 10 spots on the U.S. Billboard Hot 100. Perhaps not surprisingly, what goes up, must come down. Or crashing down in this case.
Apart from ubiquity, whether they liked it or not, it was the Bee Gees’ close association with disco that triggered their precipitous downfall when disco rapidly declined in popularity by the end of the ’70s and became the subject of outright backlash. More and more radio stations refused to play disco and Bee Gees music. And it got even worse. In the Broken Heart documentary, Maurice Gibb noted, “We had FBI and Secret Service around the airplane every time we landed in a certain place because of the bomb threats. It was scary stuff.”
Essentially, the situation forced the Bee Gees to stop performing as a group. While for their 1981 album Living Eyes, they stylistically turned away from their ’70s albums that had brought them past fame, it only sold 750,000 copies worldwide – not too shabby on the surface but measly compared to 16 million predecessor Spirits Having Flown had generated. Living Eyes stalled at no. 41 in the U.S. and at no. 73 in the UK. Here’s the title track, a co-write by the three brothers.
For the next six years, the Bee Gees largely focused on writing songs for other artists. Barry Gibb worked with Barbara Streisand on her hugely successful 1980 studio album Guilty, which he co-produced and for which he wrote or co-wrote all songs. This included the ballad Woman in Love, which like the album topped the charts in the U.S., UK and many other countries. The title track, written by the three Gibb brothers, also became a hit. Interestingly, the album cover showed a picture of Streisand and Barry Gibb who also sang backing vocals on Guilty.
Additional examples of Bee Gees songs performed by other artists in the 80s include Heartbreaker (Dionne Warwick), Islands in the Stream (Dolly Parton & Kenny Rodgers) and the Diana Ross album Eaten Alive. The Gibb brothers also did some solo work during that period. Robin Gibb enjoyed some success with his solo music in Germany.
In 1987, the Bee Gees decided to record a new album, E.S.P., six years after their last unsuccessful studio release. For the first time in 12 years, they also worked again with Arif Mardin, who had produced their mid-’70s album Main Course, the career-defining record that previously revived the group, introducing their R&B-driven dance pop and Barry’s falsetto.
While I’m not sure Mardin had a comparable influence on E.S.P., the album launched another comeback for the Bee Gees. It performed particularly well in Europe, reaching no. 1 in Germany and Switzerland, no. 2 in Austria and no. 5 in the UK. In the U.S., it barely cracked the top 100, stalling at no. 96 on the Billboard 200. Here’s the lead single You Win Again, co-written by all three Gibb brothers like all other tracks on the album.
Then fate hit again. Andy Gibb, who like his older brothers was a music artist and had enjoyed some success in the late ’70s, passed away on March 10, 1988 from myocarditis, an inflammation of the heart muscle caused by years of cocaine abuse that had fatally weakened his heart. He was only 30 years old. In addition to drug addiction, Andy had struggled with depression.
Andy’s death delayed the Bee Gees’ next album One. After taking an eight-month break, Barry, Maurice and Robin returned to the studio to finish the album. It appeared in April 1989 and was dedicated to Andy. Here’s the moving tribute Wish You Were Here.
The Bee Gees went on to release four additional studio albums between March 1991 and April 2001. Still Waters, which appeared in March 1997, marked their last triumph. In spite of lukewarm reviews, it became their best-selling album in almost 20 years. Here’s opener Alone, co-written by Barry, Maurice and Robin, which also became the lead single.
The remaining story of the Bee Gees is sad. On January 12, 2003, Maurice Gibb unexpectedly died at the age of 53 due to complications from a twisted intestine, which caused cardiac arrest. While Barry and Robin occasionally performed together thereafter, Maurice’s death ended the Bee Gees. In November 2011, it was announced Robin had been diagnosed with liver cancer. Six months later on May 20, 2012, he passed away. Robin was only 62 years old. Barry Gibb had lost all of his brothers.
In February 2013, Barry kicked off his first solo tour in Australia “in honour of his brothers and a lifetime of music,” as he told British newspaper Express in April 2013. Performing without any of his brothers was extremely challenging, as he noted in the aforementioned article. In the end, things worked out well. “The Australian leg of this tour was a great test of my self-doubt because even though I’ve done solo performances before it wasn’t going to be the same without Robin and Mo,” Barry said. “The opening night in Sydney was incredible. That’s where we grew up so to go back and see people that we knew was therapeutic.”
Gibb has continued to tour over the years. In October 2016, he released his second solo album In the Now, together with his sons Stephen Gibb and Ashley Gibb. Last month, he announced a new solo album Greenfields: The Gibb Brothers Songbook, Vol 1, which is scheduled to appear on January 8, 2021, as reported by JamBase. It includes new recordings of Bee Gees songs like I’ve Gotta Get a Message to You, Lonely Days and Jive Talkin’, featuring many guests, such as Jason Isbell, Alison Krauss and Cheryl Crow.
“I think everything we set out to do, we did against all odds. I can’t honestly come to terms with the fact they’re not here anymore. Never been able to do that. I’m always reliving it. It’s always, ‘what would Robin think’, ‘what would Maurice think’ – and Andy. It never goes away. And, what I wanted to say earlier is that I’ve rather have them all back here and no hits at all.” (Barry Gibb, The Bee Gees: How Can You Mend a Broken Heart)
Sources: Wikipedia; The Bee Gees: How Can You Mend a Broken Heart – documentary directed by Frank Marshall; Express; JamBase; YouTube