Bee Gees
Spirits Having Flown

WARNING: the lines in this little paragraph have nothing to do with the album review, so if you don't want to read them, feel free to skip ahead. Otherwise, let's start! What I'm about to write is my third review, so far we've been joking around, but now I've finally decided to commit to writing about an album that I truly love, without any hypocrisy. As I've observed here, as an outsider who enjoyed reading your reviews and your absurd comments, there are many rockers or supporters of alternative music at any cost. I, on the other hand, believe that music, being ultimately just a collection of sounds, even if they're noises, is all valuable, from classical to house music, passing through prog and funk, up to Max Pezzali (whom I can't stand musically, to be clear). So I've realized that bands like the one I'm about to discuss are considered good as long as they do things like psychedelic pop, but then, oh no, how disgusting, they've turned to disco music. This applies to the Bee Gees but can also apply, I don't know, to an Alan Sorrenti who, wow great Aria, but with Figli Delle Stelle begins the decline. However, I believe that INVENTING a melody from scratch that then becomes significant in some way is not something everyone can do. And Figli Delle Stelle is a great piece. The idea, arrangement, and melody drive me crazy, even if the track is now overused by everyone. And so I believe that Stayin' Alive by the Bee Gees, my favorite band, is an atomic piece, worthy of becoming a cult of world music. And I believe the Bee Gees began giving their best starting from the seventies, particularly with their disco turn, yes indeed, the much-detested disco music: my favorite genre.

But let's get to it. After the historic transformation of the band originally from the Isle of Man, which turned to disco music around 1975 thanks also to producer Arif Mardin, a series of albums was produced where this just-born genre was the undisputed protagonist. We're talking about Main Course, where we find their first disco tracks like Jive Talkin', then what is probably my favorite, Children Of The World and finally the historic Saturday Night Fever, which is nothing more than the soundtrack of the 1977 film of the same name, the year of disco music's peak. Concluding the seventies decade, my absolute favorite, which produced the best of pop and rock, in 1979 the album Spirits Having Flown was released.

The work, like its predecessors, is filled with disco and funk sounds. An elegant pop product, beautifully arranged, where rhythm and melody dominate. Also, the voice of Barry Gibb, the eldest of the Gibb brothers, is at its peak: his falsetto, which is the same as in Stayin' Alive, reaches heights never explored until then. The harmony that the three brothers offer in the choral parts is perfect. The musicians who support the whole album, from the first to the last track, are also excellent. It is essential, being the first review for this album, to analyze each song, hoping that someone will take the pleasure of approaching it.

The opening track is Tragedy, which also came out as a single. A powerful song, with a strong harmony and chorus, where the synthesizers together with the instruments perfectly mark the rhythm. The track has a dark flavor, and Barry's suspended bridges before singing the chorus are breathtaking. And it’s already a 10.

Next is one of the Bee Gees' most famous ballads: we’re talking about Too Much Heaven. Sweet, once again harmonious, a classic from the three brothers' repertoire. Barry's falsetto emerges again, touching, especially in the final part, very high notes. An ascending climax that can still deeply touch an old nostalgic over the years. For me, it's yet another 10 on the report card, although for those who can't stand overly sweet things, it might be a bit less. But come on, a bit of romanticism never hurts.

The third track, one of my personal favorites of the three and of disco in general, is Love You Inside Out. If asked the meaning of the term GROOVE, I would recommend listening to this track, too little known. Everything is in its place, both the verses and the chorus sound really good. Another 10 points for Gryffindor.

If Barry's voice surprised you in Too Much Heaven, you'll be even more amazed when you reach this point of the album. Reaching Out is another ballad, much less known than the first but so damn beautiful. In this case, the chorus is the true melodic focus not to be missed. A technique often used by the Bee Gees is to ascend in tone towards the end of the track: this piece is the clearest proof of it. Barry Gibb REACHES (hence the title of the piece) very high notes, always using the falsetto. Enjoy it, everyone.

The fifth track is also the one that gives the album its name, Spirits (Having Flown). Delicate verses and an explosion with clear rock influences in the chorus, echoing that of Tragedy. Perhaps it doesn't shine in some parts, but this one has also become quite famous and symbolic. 8 and a half.

Flip the record and dive into side b. Search, Find is a cheerful and very up-tempo song, where the absolute stars are the horns. It's definitely not the top of the album, but it is emblematic of the group's musical style.

Stop (Think Again) is instead one of the most interesting tracks of the album. A ballad with a jazzy flavor, almost 7 minutes long. Barry, who, as you've understood, is the emerging figure of the album, becomes much more intimate and gives us an extraordinary performance. A refined song, with a sensual and engaging saxophone accompanying the beegeesian lyrics. In some ways, this track reminds me of the magnificent Prendila Così by Lucio Battisti, released just the year before: duration and style are very similar, and we know that during those years both Lucio and the band from the Isle of Man collaborated with arranger and musician Geoff Westley.

Worth mentioning is the next track, Living Together, a song once again heavily influenced by disco music. In this case, the vocal exchanges between the three brothers, particularly Robin and Barry, are interesting. The title, repeated incessantly in the chorus, gets into your head and doesn't leave. A high-quality piece, another 10.

I'm Satisfied is a less memorable piece. But by less memorable, I mean still largely sufficient. And I like it very much nonetheless. Let's say this and Search, Find represent the lighter moments of the album. Again, lots of rhythm and horns as protagonists. But the melody doesn’t stay in your head for long.

The album closes with a gem of rare beauty and short duration. We're talking about Until, which seems to conclude the narrative started by Stop (Think Again). Barry, alone, lends his voice to this sweet, delicate, and intimate moment that represents the perfect conclusion to a musical journey of three-quarters of an hour.

Conclusion: we are dealing with a pop music album all in all. But there are many influences: disco, jazz, funk, rock. An album absolutely worthy of five stars that all genre enthusiasts, and not only, should own or at least know. And it's one of my all-time favorite albums.