BEE GEES – (1979) GREATEST HITS (US FIRST PRESS) Greatest hits album by Bee Gees Released: October 1979 Recorded: January 1975 - November 1978. Bee Gees - Greatest Hits.rar (mega) Grandes exitos Descargar bee gees grandes exitos mega 320kbps Their Greatest Hits - The Record. Una gran coleccion con todos los exitos de los Bee Gees.

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Gibb Songs version 2by Joseph Brennan, copyright 2006—2013

Barry, Robin, and Maurice Gibb held a press conference in May 1978 atthe United Nations headquarters in New York in which they praised thework of UNICEF and spoke about wanting to give back something to theworld. They spoke of donating the income from a hit song, and ofpossibly doing something else as well to raise money for children inneed. This led to two things: late in the year they donated to UNICEFthe income from the song on their new single ‘Too MuchHeaven’, and they put together an all-star concert at the UnitedNations. The concert on January 9, 1979 raised a hundred milliondollars for the cause.

The Bee Gees spent most of 1979 rehearsing and playing live shows inlarge venues. It was their farewell tour. They anticipated thattheir time in the spotlight was up, and they were right about that.The ‘disco sucks’ movement took hold in mid-America in thesummer. This should not necessarily have doomed artists as musicallydiverse as the Bee Gees, but the public have a short memory and discowas what they were identified with. Their success was their weakness.Barry’s music had dominated the charts, so he was a prime target.

The Bee Gees’ plan for the future— and they had decidedthis by late 1978, before the backlash took hold— was to besongwriters and producers. Toward the end of 1979 Barry and Robinstarted on three projects.

The high-profile project was an album of songs for Barbra Streisand,proposed this year after she saw them perform in Los Angeles, or possibly a year earlier— accounts differ. In the second halfof 1979 Barry and Robin wrote the first set of songs together,followed by another set by Barry and Albhy, and lastly a song bythe three brothers.

At the same time Barry wrote and recorded a third Andy Gibb album, andRobin and Blue Weaver started recording an album for Jimmy Ruffin.

songs

WOMAN IN LOVE
Barry Gibb, Robin Gibb
A side by Barbra Streisand, August 1980;album cut by Barbra Streisand, 1980

RUN WILD
Barry Gibb, Robin Gibb
B side by Barbra Streisand, August 1980; album cut by Barbra Streisand, 1980

PROMISES
Barry Gibb, Robin Gibb
album cut by Barbra Streisand, 1980;A side by Barbra Streisand, May 1981

LIFE STORY
Barry Gibb, Robin Gibb
album cut by Barbra Streisand, 1980

SECRETS
Barry Gibb, Robin Gibb
album cut by Elaine Paige, 1981

WHAT KIND OF FOOL
Barry Gibb, Albhy Galuten
album cut by Barbra Streisand, 1980;A side by Barbra Streisand and Barry Gibb, January 1981

NEVER GIVE UP
Barry Gibb, Albhy Galuten
album cut by Barbra Streisand, 1980

MAKE IT LIKE A MEMORY
Barry Gibb, Albhy Galuten
album cut by Barbra Streisand, 1980

CARRIED AWAY
Barry Gibb, Albhy Galuten
album cut by Olivia Newton-John, 1981

GUILTY
Barry Gibb, Robin Gibb, Maurice Gibb
A side by Barbra Streisand and Barry Gibb, October 1980;album cut by Barbra Streisand, 1980

AFTER DARK
Barry Gibb
album cut by Andy Gibb, 1980

WHEREVER YOU ARE
Barry Gibb
album cut by Andy Gibb, 1980

DREAMIN’ ON
Barry Gibb
album cut by Andy Gibb, 1980

FOR YOU
Barry Gibb
no record

I CAN’T HELP IT
Barry Gibb
A side by Andy Gibb, March 1980; album cut by Andy Gibb, 1980

ONE LOVE
Barry Gibb, Andy Gibb
album cut by Andy Gibb, 1980

SOMEONE I AIN’T
Barry Gibb, Andy Gibb
album cut by Andy Gibb, 1980

HOLD ON (TO MY LOVE)
Robin Gibb, Blue Weaver
A side by Jimmy Ruffin, February 1980;album cut by Jimmy Ruffin, 1980

NIGHT OF LOVE
Robin Gibb, Blue Weaver
A side by Jimmy Ruffin, 1980;album cut by Jimmy Ruffin, 1980

SEARCHIN’
Robin Gibb, Blue Weaver
album cut by Jimmy Ruffin, 1980

TWO PEOPLE
Robin Gibb, Blue Weaver
album cut by Jimmy Ruffin, 1980

CHANGIN’ ME
Robin Gibb, Blue Weaver
album cut by Jimmy Ruffin, 1980

JEALOUSY
Robin Gibb, Blue Weaver
album cut by Jimmy Ruffin, 1980

All known songs known from 1979 were for the three projects asproducers.

recording sessions

Barry Gibb

Barry Gibb — vocal, guitar
Blue Weaver — keyboard
Albhy Galuten — synthesizer
drum machine
engineer: ?
producer: Barry Gibbabout October 1979, Criteria Recording Studios, Miami

Not intended for release, these are demos of songs submitted to BarbraStreisand for her upcoming album. Barry sings all the vocals infalsetto so that they are in Barbra’s range, with instrumentalsupport from Blue and Albhy. These recordings were a new middle stagein the record-making process, between the rough work tapes by thesongwriters and the finished recordings.

The chronology here is uncertain. Barry has said that first they sentin the five songs he wrote with Robin. This much can easily be datedbetween the end of touring (October 6) and the time Robin left Miamito stay for a few months at his house on Long Island (New York). Thenext batch, written with Albhy Galuten instead of Robin, mightreasonably be dated after Robin left Miami. However this may not bethe case. Albhy recalls Barry writing all the songs very fast, in aweek or so, and taking only a little longer to record the demos. Thedemos all sound consistent as if they were recorded around the sametime. Additionally Blue Weaver thinks he plays on all of them, andBlue left Miami with Robin. Tentatively, the date for all the demosis here given as October.

Demos of ten songs were released on iTunes in 2006. ‘Never GiveUp’ was missing but ‘Carried Away’ and‘Secrets’ were included. Curiously these were the sameten available to fans years earlier on traded tapes and bootlegs. Didsomething happen to the demo of ‘Never Give Up’?

WOMAN IN LOVE
Barry Gibb, Robin Gibb (1979)
undated 1979
stereo 3:53, lead vocal Barry Gibb
The Guilty Demos, 2006

RUN WILD
Barry Gibb, Robin Gibb (1979)
undated 1979
stereo 4:22, lead vocal Barry Gibb
The Guilty Demos, 2006

PROMISES
Barry Gibb, Robin Gibb (1979)
undated 1979
stereo 4:14, lead vocal Barry Gibb
The Guilty Demos, 2006

LIFE STORY
Barry Gibb, Robin Gibb (1979)
undated 1979
stereo 4:56, lead vocal Barry Gibb
The Guilty Demos, 2006

SECRETS
Barry Gibb, Robin Gibb (1979)
undated 1979
stereo 3:50, lead vocal Barry Gibb
The Guilty Demos, 2006

This is the group of five songs by Barry and Robin that Barry recalledas the first ones submitted to Barbra and her manager CharlesKoppelman. The running order is unknown. Four of the five songs wereaccepted for the album. ‘Woman in Love’ would become thevery successful first single off the album. ‘Secrets’ wasas good as any and may have been dropped simply because it was toosimilar to the others.

The demos were carefully made, with Barry overdubbing two guitarsand two vocal tracks at times. Barbra’s final vocals followedthese models closely. For example the sustained note into the secondchorus of ‘Woman in Love’, very much in Barbra’sstyle, is sung the same way by Barry on the demo.

WHAT KIND OF FOOL
Barry Gibb, Albhy Galuten (1979)
undated 1979
stereo 4:04, lead vocal Barry Gibb
The Guilty Demos, 2006

NEVER GIVE UP
Barry Gibb, Albhy Galuten (1979)
undated 1979
stereo, lead vocal Barry Gibb
unreleased

MAKE IT LIKE A MEMORY
Barry Gibb, Albhy Galuten (1979)
undated 1979
stereo 6:34, lead vocal Barry Gibb
The Guilty Demos, 2006

CARRIED AWAY
Barry Gibb, Albhy Galuten (1979)
undated 1979
stereo 3:51, lead vocal Barry Gibb
The Guilty Demos, 2006

These four songs were by Barry and Albhy. Three were accepted and‘What Kind of Fool’ would become another top sellingsingle off the album. They sound different from the songs Barry wrotewith Robin. As would be seen in their separate work to come, Robinlikes clear song structures, a song like ‘Woman in Love’with its formal verse and chorus and repeat chorus to fade. Workingwith Albhy, Barry began to write more complex verse melodies that areharder to follow on one listen, although he still put in the catchychorus hooks he was known for. Barry’s songwriting wasbeginning to change.

Another factor possibly influenced by Albhy is that these demos werenot so very closely copied on the finished recordings. In ‘WhatKind of Fool’ for example the Barbra version has a fewadditional lines sung by Barry in falsetto before the second verse.Later on the section starting ‘was there a moment’, alittle weak in falsetto in the demo, gets its proper impact fromBarbra singing it full force.

THE LOVE INSIDE
Barry Gibb, Robin Gibb, Maurice Gibb, Andy Gibb (1978)
undated 1979
stereo 4:47, lead vocal Barry Gibb
The Guilty Demos, 2006

‘The Love Inside’ was written during the Spirits HavingFlown sessions but not used. It may have had an Andy Gibb vocalduring development, because Barry sings the first few lines soundinguncannily like Andy. He sings the rest crossing awkwardly betweenquiet natural voice and falsetto. A beautiful ballad, the song neededa great singer to give it its full impact.

GUILTY
Barry Gibb, Robin Gibb, Maurice Gibb (1979)
late 1979
stereo 4:02, lead vocal Barry Gibb
The Guilty Demos, 2006

‘Guilty’ was the only song for Barbra credited to Barry,Robin, and Maurice. The demo however sounds like the others, andsince Barry sings it in falsetto throughout he had probably not yetdecided to make it a duet. (By contrast parts of ‘What Kind ofFool’ are natural voice.) It was said to have been the lastsong submitted for the album. This was Maurice’s onlysongwriting credit in 1979.

Andy Gibb

Andy Gibb — vocal
Barry Gibb — vocal, guitar, synthesizer
Joey Murcia — guitar
George Terry — guitar
George Bitzer — keyboards
Harold Cowart — bass
Ron Ziegler — drums
The Boneroo Horns
Peter Graves
Whit Sidener
Kenny Faulk
Bill Purse
Neil Bonsanti
Dan Bonsanti
Olivia Newton-John — vocal (‘Rest Your Love on Me’, ‘I Can’t Help It’)
Michael Brecker — sax (‘After Dark’)
Randy Brecker — trumpet (‘After Dark’)
Joe Lala — percussion
Tom Roadie — percussion
Tim Renwick — guitar
Hugh McCracken — guitar
Albhy Galuten — synthesizer
‘Bernard Loop’ — drums
Charlie Chalmers, Sandy Rhodes, Donna Rhodes — vocal
orchestra arranged by Barry Gibb and Albhy Galuten; concertmaster Gene Orloff
engineer: Karl Richardson; Dennis Hetzendorfer
producer: Barry Gibb, Karl Richardson, Albhy Galuten
May, October, November 1979, Criteria Recording Studios, Miami

The order of recording is not known. The songs are listed here ingroups for discussion. Barry must have been working on these songsand recording sessions at about he same time he was doing the BarbraStreisand songs. No wonder he told reporters in November that hespent all his time in the studio.

After Dark was a Barry Gibb project propping up Andy’scareer and fulfilling Andy’s contractual obligation. By thisdate Andy’s drug use had spiralled out of control. His voicewas in bad shape, he was barely writing songs, and he could not becounted on to appear for sessions. Barry created new songs, found oldones, and sang vocal tracks. Barry could do a good impression ofAndy’s voice, and some of what sounds like Andy is in factBarry, filling in lines or phrases Andy missed. Andy himself admittedthis in 1985. Still it is not a Barry Gibb solo album but his conceptof an Andy Gibb album.

DESIRE
Barry Gibb, Robin Gibb, Maurice Gibb (1978)
undated 1978, 30 May 1979
stereo 4:24, lead vocal Andy Gibb
A side, January 1980; After Dark, 1980

This is an Andy Gibb lead vocal laid on a track recorded by the BeeGees for the Spirits Having Flown album. For instrumentalcredits see that album in 1978. Any sense that Andy was channellingthe Bee Gees rather than finding his own way would be confirmed here.‘Desire’ sounds a lot like ‘Too Much Heaven’.This was Andy’s last top ten hit in America, reaching number 4in Billboard.

The US copyright for this song gives the artist as ‘BeeGees’ and is titled ‘Desire : 5/30/79’. This wasregistered 11 July 1979.

BACK TO THE WIND
Andy Gibb (1979)
undated 1979
stereo, lead vocal Andy Gibb
unreleased

WARM
Andy Gibb (1979)
undated 1979
stereo, lead vocal Andy Gibb
unreleased

The only two songs written for the album by Andy alone were recordedbut not used.

ONE LOVE
Barry Gibb, Andy Gibb (1979)
undated 1979
stereo 4:07, lead vocal Andy Gibb, Barry Gibb
After Dark, 1980

SOMEONE I AIN’T
Barry Gibb, Andy Gibb (1979)
undated 1979
stereo 3:08, lead vocal Andy Gibb
After Dark, 1980

Two soft ballads credited to Barry and Andy were Andy’s onlysongwriter credit on the album as released. Both are good songs,especially the ironically titled ‘Someone I Ain’t’,and Andy sings them with feeling. They have some of the same mood asthe Andy-written songs on his previous albums.

REST YOUR LOVE ON ME
Barry Gibb (1976)
undated 1979
stereo 4:53, lead vocal Andy Gibb, Olivia Newton-John
After Dark, 1980

I CAN’T HELP IT
Barry Gibb (1979)
undated 1979
stereo 4:07, lead vocal Andy Gibb, Olivia Newton-John
After Dark, 1980

Andy and Olivia Newton-John had done a nice duet version of‘Rest Your Love on Me’ at the UNICEF show in January, soshe agreed to record it and a new song for Andy’s album. AlbhyGaluten winces recalling the session years later. Andy showed up latewith his voice so shot that he couldn’t hit all the notes. Theyhad started the session with Barry singing the duets with Olivia, andthe contrast in quality was all too clear.

AFTER DARK
Barry Gibb (1979)
undated 1979
stereo 4:21, lead vocal Andy Gibb, Barry Gibb
After Dark, 1980

WHEREVER YOU ARE
Barry Gibb (1979)
undated 1979
stereo 4:27, lead vocal Andy Gibb, Barry Gibb
After Dark, 1980

DREAMIN’ ON
Barry Gibb (1979)
undated 1979
stereo 3:51, lead vocal Andy Gibb
After Dark, 1980

Three more songs from Barry were highlights of the album. Barry isvery clearly singing together with Andy on ‘After Dark’and ‘Wherever You Are’, two well crafted but somewhatgeneric uptempo dance songs. The quiet rhythm of‘Dreamin’ On’ closed the album. Andy handles thetricky rhythm of the verses quite well.

FOR YOU
Barry Gibb (1979)
undated 1979
stereo, lead vocal Andy Gibb
unreleased

FALLING IN LOVE WITH YOU
Barry Gibb, Albhy Galuten (1977)
undated 1979
stereo 4:12, lead vocal Andy Gibb, Barry Gibb
After Dark, 1980

These two plus the songs listed previously would make twelve, two morethan the usual total for an LP in 1979. ‘For You’ was anew song by Barry, filed at the US copyright office in the form of arecording sung by Andy, but not clearly part of the album. It mayhave been dropped early in the process. ‘Falling in Love withYou’ was a song from 1977 that had not yet been recorded. Barrysings throughout.

WARM RIDE
Barry Gibb, Robin Gibb, Maurice Gibb (1977)
undated 1977, undated 1979
stereo 3:30, lead vocal Andy Gibb
After Dark, 1980

This song was an outtake from Saturday Night Fever. Yearslater Albhy said of it, ‘I don’t know how that got onthere’. A reading of the tea leaves of copyright filingssuggests that ‘Falling in Love with You’ and ‘WarmRide’ may have been late replacements for the songs by Andysolo.

Jimmy Ruffin

Jimmy Ruffin — vocal
Blue Weaver — keyboards, synthesizer
Bobby Cadway — guitar
Alan Kendall — guitar
Dennis Bryon — drums, vocal
George Perry — bass, vocal
Yvonne Lewis, Krystal Davis, Janet Wright — vocal
orchestra arranged by Blue Weaver, Mike Lewis
engineer: Glen Kolotkin
producer: Robin Gibb and Blue Weaver
about November 1979, Kingdom Sound Studios, Syosset NY

The order of recording is not known except that these werethe first songs recorded for the album. Robin’s web sitedates his vocal of ‘Hold On’ to January 1980, whichseems too close to its release date on a single (February 1980),but January may be the right date for the second sessions thatcompleted the project.

HOLD ON (TO MY LOVE)
Robin Gibb, Blue Weaver (1979)
undated 1979
stereo 3:32, lead vocal Robin Gibb
unreleased
stereo 3:32, lead vocal Jimmy Ruffin
A side, February 1980; Sunrise, 1980

NIGHT OF LOVE
Robin Gibb, Blue Weaver (1979)
undated 1979
stereo 3:50, lead vocal Jimmy Ruffin
A side, 1980; Sunrise, 1980

SEARCHIN’
Robin Gibb, Blue Weaver (1979)
undated 1979
stereo 2:54, lead vocal Jimmy Ruffin
Sunrise, 1980

TWO PEOPLE
Robin Gibb, Blue Weaver (1979)
undated 1979
stereo 4:07, lead vocal Jimmy Ruffin
Sunrise, 1980

Robin and Blue Weaver, based at Robin’s new Long Island home,decided to start their downtime from the Bee Gees by doing an album ofsoul music, and got together with veteran Jimmy Ruffin, whose big hithad been ‘What Becomes of the Brokenhearted’ in 1966.Jimmy had the kind of rough soul voice that Robin sometimes wished hehad. The first songs for his album Sunrise were recorded atKingdom Sound, a well-equipped studio in Syosset that was used mostlyby rock bands but that also had the virtue of being convenient toRobin’s house in Lloyds Neck.

Robin recorded a vocal track to ‘Hold On (to My Love)’ butthere are no other demos or Robin-sung versions of the songs. Jimmywas taught the rest of them without demos. ‘Hold On’,which became the lead single, was also the only ‘disco’song, so it was an odd choice if the idea was to escape the discolabel. ‘Searchin’’ in particular is a classic soulballad that deserved more attention than it got, sung with a lot offeeling.

selected record releases

Bee Gees : single
US: RSO, February 1979; UK: RSO, February 1979

ATRAGEDY
BUNTIL

Bee Gees : Spirits Having Flown
US: RSO, February 1979; UK: RSO, February 1979

A 1TRAGEDY
A 2TOO MUCH HEAVEN
A 3LOVE YOU INSIDE OUT
A 4REACHING OUT
A 5SPIRITS (HAVING FLOWN)
B 1SEARCH, FIND
B 2STOP (THINK AGAIN)
B 3LIVING TOGETHER
B 4I’M SATISFIED
B 5UNTIL

The second single ‘Tragedy’ became the Bee Gees’ fifthnumber 1 in a row in America, and went number 1 in Britain. It wasmore or less a disco single, possibly not what they should have put outat this date thinking long-term, but in the short term its popularityis obvious. An early fade 4:10 version was sent to disk jockeys sincethe full length of five minutes was still long for a single at this time.

The album Spirits Having Flown met expectations in themarketplace, following the Saturday Night Fever soundtrack tothe number 1 album spot in the United States and United Kingdom,the only original Bee Gees album ever to do so. (Later this yearGreatest also reached number 1 in the United States.)

A Gift of Song: Music for UNICEF
US: Polydor, 1979; UK: Polydor, 1979.

Bee Gees : TOO MUCH HEAVEN
Andy Gibb : I GO FOR YOU
Andy Gibb and Olivia Newton-John : REST YOUR LOVE ON ME

From the live show of January 9. For ‘Too Much Heaven’the Bee Gees lip-synched the single, possibly adding a live vocal overthe pre-recorded tracks. However Andy did a good live version of‘I Go for You’, an interesting choice since it was one ofhis own songs rather than one of his singles. He then joined withOlivia Newton-John to do ‘Rest Your Love on Me’, firstreleased just two months earlier as the B side to ‘Too MuchHeaven’.

All four brothers sang together with the other performers on the finale,‘Put a Little Love in Your Heart’ (Jackie De Shannon, 1969),but it was not on the album. The album was rush-released and its proceeds were part of the gift to UNICEF.

Osmonds : Steppin’ Out
US: Mercury, March 1979.

A 1STEPPIN’ OUT
A 2EMILY
A 3YOU’RE MINE
A 4BABY’S BACK
A 5LOVE ON THE LINE
B 1RAININ’
B 2I’ I’ I
B 3LOVE AIN’T AN EASY THING
B 4HOLD ON
B 5REST YOUR LOVE ON ME

Osmonds : single
US: Mercury, March 1979.

AI’ I’ I
BYOU’RE MINE

Maurice produced but did not sing or play on this album. It was almostthe first release of ‘Rest Your Love on Me’, which had nowbeen heard recently as a Bee Gees B side and in the UNICEF concert.

Following the lack of success of this album and its single, the Osmondsswitched to country music.

Bee Gees : single
US: RSO, April 1979; UK: RSO, April 1979

ALOVE YOU INSIDE OUT
BI’M SATISFIED

This was the Bee Gees’ sixth number 1 single in a row in theUnited States, but who even remembers it? It seems to have coastedthrough on their reputation. It was also their last number 1.Top twenty in Britain.

‘Love You Inside Out’ (4:11) was faded early on a promosingle at 3:47, labelled as 3:27.

CD: Both on Spirits Having Flown.

Bee Gees : Short Cuts
UK: RSO, promotional only 1979

A 1JIVE TALKIN’ (1975) 2:43
A 2STAYIN’ ALIVE (1977) 2:58
A 3NIGHT FEVER (1977) 2:26
A 4TRAGEDY (1979) 1:58
A 5WIND OF CHANGE (1975) 1:54
A 6YOU SHOULD BE DANCING (1976) 3:09
B 1HOW DEEP IS YOUR LOVE (1977) 1:45
B 2FANNY (BE TENDER WITH MY LOVE) (1975) 1:55
B 3SPIRITS (HAVING FLOWN) (1979) 2:13
B 4LOVE SO RIGHT (1976) 2:05
B 5TOO MUCH HEAVEN (1979) 2:16
B 6(OUR LOVE) DON’T THROW IT ALL AWAY 2:48

A promo LP released in advance of Bee Gees Greatest. The disklabels have the logo of Bee Gees Greatest and under it thewording Short Cuts / “A Musical History of the 70’s”,and then Fast Side (1) and Slow Side (2) respectively. Allsongs are short edits unique to this disk, with timings as shown above.

Youtube Bee Gees Greatest Hits

Readers of tea leaves will notice how closely the selections match thefirst two sides of Greatest and wonder whether this was aproposed lineup for a one-LP version of Greatest.

Bee Gees Greatest
US: RSO, October 1979; UK: RSO, October 1979

A 1JIVE TALKIN’ (1975)
A 2NIGHT FEVER (1977)
A 3TRAGEDY (1979)
A 4YOU SHOULD BE DANCING (1976)
A 5STAYIN’ ALIVE (1977)
B 1HOW DEEP IS YOUR LOVE (1977)
B 2LOVE SO RIGHT (1976)
B 3TOO MUCH HEAVEN (1979)
B 4(OUR LOVE) DON’T THROW IT ALL AWAY
B 5FANNY (BE TENDER WITH MY LOVE) (1975)
C 1IF I CAN’T HAVE YOU (1977)
C 2YOU STEPPED INTO MY LIFE (1976)
C 3LOVE ME (1976)
C 4MORE THAN A WOMAN (1977)
C 5REST YOUR LOVE ON ME (1978)
D 1NIGHTS ON BROADWAY (1975)
D 2SPIRITS (HAVING FLOWN) (1979)
D 3LOVE YOU INSIDE OUT (1979)
D 4WIND OF CHANGE (1975)
D 5CHILDREN OF THE WORLD (1976)

The Bee Gees’ greatest— ignoring everything before 1975!This was the first release of the 1977 Bee Gees recording of‘(Our Love) Don’t Throw It All Away’ (known by nowas an Andy Gibb record) and the first album appearance of the B sides‘If I Can’t Have You’ and ‘Rest Your Love onMe’. By including all of the Bee Gees songs on the SaturdayNight Fever soundtrack, this set renders that one unnecessary(although few Bee Gees fans would want to be without the most famousalbum associated with the group). Among the missing from the periodcovered are the American single ‘Boogie Child’ andanything from Sgt Pepper.

The sides were grouped by themes. Side 1 is five top dance hits; side2 is love ballads; side 3 is miscellaneous B sides, album cuts, songscovered by other artists; and side 4 is possibly meant to be moreserious songs (although ‘Love You Inside Out’ does notseem to fit). On LP, the labels feature headshots of Barry, Maurice,and Robin for sides 1, 2, and 3 respectively, and a group shot forside 4.

Greatest hits albums often mark an end or turning point. With thisalbum the Bee Gees deliberately closed the door on their disco periodand signalled a move on to new things.

1979 Bee Gees Hit

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