Ranking All the Bee Gees Studio Albums

The Bee Gees

The Bee Gees are often thought of as just another 1970s band, but the siblings were undoubtedly among the best pop stars. Bee Gees have influenced artists from around the globe, and they deserve recognition for all their hard work. They started out as a skiffle/rock-and-roll band in the 1950s before gaining worldwide fame with their 1981 hit song “Stayin’ Alive.” The Bee Gees are also one of the most successful pop groups in history, with over 50 singles topping charts worldwide. In this article, we will rank all their studio albums from the worst to the very best. Check out our rankings.

22. Life in a Tin Can (1973)

 

The album was not anywhere near close to their everyday work. The brothers went to Los Angeles for this one but could not prevent its commercial decline. It received criticism from fans and critics alike for lacking innovation despite being awarded “Album of the Year” by Record World magazine upon release. Ain’t No Pleasing Women is also included on Life In A Tin Can – an overlooked gem that features Barry’s exquisite piano playing. This studio effort features Robin Gibb’s compositions with some contributions from Barry Gibert. Still, all three brothers are credited for four of eight songs included here.

21. Trafalgar (1971)

 

Trafalgar was their ninth studio album and their seventh internationally. The album peaked at No. 34 on Billboard’s Hot 200 in America, with the lead single “How Can You Mend A Broken Heart?” going down in history as one of their most popular hits and an international hit, reaching #1 in Europe.The Bee Gees’ only full-length appearance on a solo album is Trafalgar. This track was included in Robert Dimery’s book 1001 Albums “You Must Hear Before You Die” and has been referred to as one of their best songs.

20. Bee Gees’ 1st (1967)

 

The Bee Gees’ psychedelic pop album peaked at No. 7 on Billboard’s Pop Albums chart and 8th in the U.K.. This was an excellent introduction for those who want to learn more about their ancient music with an honest take from the group themselves. In 2006, they reissued this classic but had some errors fixed like fluttering noises heard when played back using only stereo mixes instead of both mono versions plus bonus CD included unreleased songs or alternate takes. The new version made it worth hearing all these corrections by listening again after the corrected version was released initially.

19. To Whom It May Concern (1972)

 

The Bee Gees’ tenth album, To Whom It May Concern, is a personal and sad follow-up to their 1972 release of Trafalgar. The ten songs on this record were recorded at I.B.C. Studios in London with Bill Shepherd as conductor/arranger. It was a farewell to the old Bee Gees, as this album marked their end in several ways. First, it was recorded at I.B.C. Studios, in London and with conductor Bill Shepherd, who had guided them since 1967. Some songs were finished, while others were rewritten for the occasion (with “I Can Bring Love”).

18. Mr. Natural (1974)

 

The album contains more rhythm and blues, soul, and funk than their prior work with producer Arif Mardin. Frank Moscati’s cover shot, taken at 334 West 4th Street, highlights this development. Manhattan’s lower Village scene provides an authentic New York City feeling that will be familiar even if you’re not from there. The album Mr. Natural reached No.178 on the Billboard 200. It was also one of many firsts for this recording group, as it features an African American vocalist (Barry White) within its ranks. The explicit content has been deemed less controversial than other recordings because of its lack thereof.

17. Spicks and Specks (1966)

 

This time around, Spicks And Specks functioned more like an actual full-length release for most of its tracks being made up entirely of new material from all four brothers instead of just three. They added renditions with live bonus cuts thrown here and there throughout each song’s duration. The success of this album’s title track ironically took place just as the band was sailing back to England in 1967, having spent two years touring America. They had hoped for more recognition during that time. Still, they came back feeling somewhat discouraged by their lackluster reception at home soil.

16. Main Course (1975)

 

The Bee Gees’ Main Course is a gem in the group’s varied catalog, just by being their 13th album and released for R.S.O. Records. This change would mark an end to wide distribution throughout America by Atlantic and heralded many more soulful musical experiments. The musical experiments included funk influences that were part of black American culture at that period. This led up through most 1970s work from Barry & Robin (though they still had some pop hits like New York Mining Disaster 1941). With their commercial disappointment from the group’s previous few albums, Main Course was a great success. It rejuvenated them and their public image, especially in the U.S.

15. Spirits Having Flown (1979)

 

The lead single in the album “Spirits” became an international hit with its No. 1 spot on three major music charts, including the United States Billboard Hot 100 list. This record has not been matched yet to date. They also achieved another six U.S. top-ten hits – all within one year’s time span. Spirits Having Flown is the band’s last album before a significant downfall in the early 1980s. The record earned them critical praise and chart success. However, they were still subject to “censorship” from radio stations across America, refusing to play songs with explicit lyrics.

14. Still Waters (1997)

 

This time around, the album was a pop record that had some rock songs in there, too. The lead single “I Can’t See Clearly” is all about broken relationships and how much they hurt us when we’re down. But then, something beautiful can come out of them if you learn to see what matters most. The rest of the album proceeds along these same lines until an acoustic guitar appears at track six, leading to another fast-paced song called “All We Needed Was Love.” You may think this sounds confusing because each song follows its pattern while still sharing similarities throughout.

13. Living Eyes (1981)

 

The group turned away from disco sound on this release, a well-known tune in their work since around the 1970s. This latest effort did not sell well at home or abroad. However, Living Eyes still reached #40 across most territories, and its release went global. It would be Polydor’s last L.P. before absorption into rival label Deutsche Grammophon. These guys were onto something big here. Two decades after the release saw unprecedented success for “Dancing Queen” (#1 everywhere) and Barry Gibb.

12.One (1989)

 

Upon its release, One charted low on Billboard there too – until “You Win Again.” The song brought them back for good into American pop culture, where they had been before their disco years ended when America embraced Michael Jackson-inspired music. Not all was well, though. Sales fell off elsewhere around Europe & Japan anyway, mainly because many countries still clung to older sounds rather than adopting newer trends. The song “One” was a Top Ten comeback hit that topped soft rock radio playlists. This material succeeds as pop for the same reasons I’ve Got A Message For You and You Should Be Dancing did. The melodies are catchy, hooks deathless (pun intended), vocals convey emotion over meaning while still being weightless, making them polished sounding.

11. E.S.P. (1987)

 

E.S.P., their 17th studio album (15th worldwide), was released under their new contract with Warner Bros. This marked 12 years since they worked together and nine days before guitarist Vince Melouney passed away following a heart surgery year on April 1st. It may not be what you’re used to hearing from your favorite group, but this time around, things were different. The first single off E.S.P. became one of those nostalgic tunes- “I’ve Gotta Get A Message To You.” Even though fans fell head over heels at how well done these songs sounded, having no traditional instrumentation behind them – only synths-, unfortunately, its chart success did little more than anyone would have expected.

10. The Bee Gees Sing and Play 14 Barry Gibb Songs (1965)

 

The Bee Gees are best known for their smooth sounds, but this album features a wide variety of different styles. 14 Barry Gibb Songs are the debut studio release from Australia’s most famous songwriting duo with English and Australian aboriginal songs. The album features songs from all over—from ballads about love to more upbeat tunes with fast-paced rhythms you can dance to.

9. Odessa (1969)

 

Odessa is an ambitious project that would eventually lead to many disputes and disagreements within their ranks. It had little commercial success outside of Europe (reaching #10 in the U.K. Albums Chart). This doesn’t diminish its significance as one of their most significant sixties albums. Critics have acknowledged Odessa’s ambition to create tension during recording sessions and gave insight into how individual members engaged with music at different points throughout their careers. The album was their first international release and was released by Polydor Records in the U.K. and ATCO Records in the U.S. It would be the last album with the original incarnation of the band (vocalist Robin & guitarist Vince Melouney).

8. Cucumber Castle (1970)

 

The album comprises songs from their television special “Cucumber Castle,” named after one song on their 1967 album Bee Gees’ 1st. Before Robin Gibb left the group in 1968 to pursue a solo career, he received co-composer credit on one track that’s present here before his departure. However, because of legal complications, it does not appear in England or Australia, where they are still known collectively as The Brothers Gibb. The Bee Gees recorded their 1969 album at the height of Beatlemania in Britain. They had achieved what many bands only dream about, reaching number 2 on the U.K. charts with One. However, this success would be short-lived as Robin Gibb’s solo track “Saved by the Belle” took over that same position just months later.

7. Horizontal (1968)

 

The Bee Gees are back with another masterpiece, and this time it’s not just for them. Melbourne-based record label Reprise Records has reissued the group’s 1968 album Horizontal in its original mono form and includes both stereo versions. The bonus CD contains some rare tracks left off or edited differently than they originally appeared on vinyl. The 1968 pop song was written primarily about how people should live their lives more fully rather than being dutiful followers who do what society expects. They also drew social criticism from recent events, such as Amnesty International demonstrations around campuses nationwide.

6. Children of the World (1976)

 

The first single in this album, “You Should Be Dancing,” went to No.1 in America and Canada. It also charted highly In other places around the world (top 10). It was their fourteenth studio recording overall for international markets, plus this one marked a new collaboration with songwriting partners, including Barry Gibb. They would later create many hits together later down through history. This collection included an upbeat funk track about moving on as life grows into something better than before.

5. Idea (1968)

 

The idea was their fifth, and it became one of the most popular albums to come out in Britain. They sold over 1 million copies worldwide. In both mono and stereo pressings for the U.K. release, this iconic photo is all dressed up, looking kind of silly but enjoyable at once. They were wearing these crazy clothes from decades ago. And then, besides being an incredible musician and actors/singers, etc., Barry wasn’t even done yet. He wrote eight songs for the album, including “New York Mining Disaster Inquiry 1961. The first single,” I’ve got to Get A Message To You,” was released on both records in North America.

4. 2 Years On (1970)

 

The eighth studio album by The Bee Gees, 2 Years On, reached No. Thirty-two on the U.S. charts.Their first full-length was with Geoff Bridgford as the drummer who would remain a part of this group until 1972. The song “Lonely Days” in the album is a classic in the U.S., charting high on several Billboard charts. Reunited, the brothers released the first single after many years apart, and they didn’t disappoint with this one. It even won them their award at Radio 1’s “Rock Box” competition for best track of 2016.

3. High Civilization (1991)

 

The Bee Gees were on a mission to conquer America, and they did it in 1991. High Civilization was released with heavy radio play resistance from U.S. outlets that had refused their music. They couldn’t stop this one. The album sold over 4 million copies worldwide, making it an iconic pop masterpiece and the last vital project for member Geoffery Barry. Barry passed away less than two years later, at age 48, because of cancer, leaving brother Maurice as the guitarist. The album was only available on CD and cassette until it received its vinyl release in limited quantities.

2. Size Isn’t Everything (1993)

 

Size Isn’t Everything” marked a significant shift from their previous sound as it returned to what they would call “a return to our original style before Saturday Night Fever.” This time around, there were no contemporary dance songs but more love ballads and piano-laden hits mixed, which made up most of its tracks. This album marked their return to Polydor Records after three albums with Warner Bros. This came when the Gibb brothers faced some strain in their personal lives. Maurice was estranged from his family because of alcoholism while brother Andy passed away, and then Hugh died on March 6th, 1992. The dedication to “Love Songs” could not be more fitting, given these difficult times.

1. This Is Where I Came In (2001)

 

The album was released nearly two years after the group’s last record together in 1996 for Children Of The World. This time around, though, all new songs were written only by Barry, Robin & the company themselves rather than being covers or reworking from previous albums, which made up most of their catalogs during this period. The album peaked at No. 6 in the U.K. while also reaching a Top 10 position on Billboard’s contemporary jazz chart and spent ten weeks inside of The Village Voice’s top 200 albums list after its release. The single “This Is Where I Came In” reached 18th place on both E.U.R. (Unified Embarrassment Rating) surveys released by iTunes Music Store.

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