Bee Gees – A Kick in the Head is Worth Eight in the Pants

The last of three albums the Bee Gees recorded in 1972, A Kick in the Head is Worth Eight in the Pants was unissued thanks to the underperforming and underwhelming Life in a Tin Can.

Yet, despite its jokey title, A Kick in the Head… is reckoned to be the worthier contender and deservedly so.  Barry and Robin are in healthy vocal shape and the ballad heavy songs are at least well crafted.  More attention is paid to production than with its predecessor adding to an assured feel.

Sugar and grit

But still the writing lacks genuine inspiration.  The overall effect is of too much sugar and not enough grit.  Lonely Violin is the chief offender.  Despite an undeniably fetching melody it’s just too calculating to be really touching.  Lonely Violin wants to be taken seriously yet cannot truly touch me.  And yet neither does it tip into outright parody, Cucumber Castle style.

The most successful track is the striking Elisa, with its slow-build chorus gradually drawing us in.  Harry’s Gate extends nostalgic reminiscence into near self-mythology but it’s one of the more impressive songs here lent extra impact by the three brothers singing in unison on the chorus’ shared memories.

Production tends towards default lush as if hi-sheen surface alone demonstrates a quality product whereas it most likely suggests an overfriendliness towards AOR radio, ironic given that this album never made it onto the airwaves.  Like others, I can hear another Barry at times – Manilow – in the album’s romantic, schmaltzy sensibility.

Soft underbelly

And maybe that hints at the problem I have with the Bee Gees come 1972/73. In 1968, they simply wrote one freshly-minted song after another, put across with conviction, urgency and flair. Many were about lost love yet each conveyed a different emotional flavour. But five years down the line the Bee Gees’ emotion is like a kind of bland, en masse ‘thing’. They sound like a band producing what they think the public expects of them, no more and no less.

Four songs produced in London in early 1973 (King and Country, Jesus in Heaven, Life, Am I Wasting My Time? and the atypically political Dear Mr. Kissinger) are unfortunately not as compositionally strong as the best of the LA bunch.

It’s not hard to see why, at this point, even if at least one of the 1972 trio had fared rather better commercially, a change was required to relight the brothers’ fire. The Bee Gees’ soft underbelly was about to be made lean once again.


A Kick In the Head is Worth Eight in the Pants [1973]

Side 1
Elisa
Wouldn’t I Be Someone
A Lonely Violin
Losers and Lovers
Home Agaian Rivers

Side 2
Harry’s Gate
Rocky LA
Castles In the Air
Where is Your Sister
It Doesn’t Matter Much to Me*


Singles 1973 [related to A Kick In the Head…]
Wouldn’t I Be Someone
Elisa

* ‘It Doesn’t Matter Much to Me’ was B-side to 1974 single ‘Mr Natural’ from their album of that name.


<- Life In a Tin Can


Bee Gees Top 50 1966-72
Bee Gees’ Home Page

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Bee Gees – Life In a Tin Can

The brothers don’t like this album much and neither do I.  An air of complacency hangs over proceedings not helped by the resolutely slow to middling pace across eight tracks lasting a mere thirty-two minutes.

Life In a Tin Can is the sound of the Bee Gees narrowing down their craft on almost every front.  Melodies mostly lack ambition and lyrics are unremarkable.  Where is the urgency, the passion?  Maybe the laidback LA vibe didn’t help.  At least they don’t pad out the tracks with superfluous instrumental breaks or extended codas so as to reach a forty-five minute running time.

Laidback LA 

Despite these shortcomings, Robin and Barry’s vocals are fine and Robin even stretches himself on Method to My Madness even if the material is too insubstantial to generate the necessary emotional payoff.  This being the height of Maurice’s struggles with drink, we also lack a Maurice lead vocal/composition; his down-to-earthness, often a necessary antidote to Barry and Robin’s aggrandising tendencies, is missed here.  Still it’s nice to hear Maurice’s electric piano updating the unobtrusive but fairly bland production.

The best tracks are the opener, I Saw a New Morning (good dynamics), Robin’s My Life Has Been a Song (Barry’s bridge anticipates mid-late 70s Bee Gees) and Method to My Madness: all three have melodies a cut above the rest whilst lacking the freshness and vitality of earlier triumphs such as To Love Somebody, I’ve Gotta Get a Message To You or even the hookability of the more recent Lonely Days.

Mushy

Elsewhere I Don’t Wanna be the One slides headlong into the mush which always threatens to engulf Life In a Tin Can.  Living in Chicago is well meaning but unengaging.  Barry plays with his post-The Gambler country thang again on South Dakota Morning but it’s getting a bit played out now.

So not a single Can track in My Top 50.  ‘I played the game, Still it’s not worth it’.  This just about sums it up.

 


Life In a Tin Can [1973]

Side 1
Saw a New Morning

I Don’t Wanna Be the One
South Dakota Morning
Living in Chicago

Side 2
While I Play

My Life Has Been a Song
Come Home Johnny Bridie
Method to My Madness


Singles 1973 [related to Life In a Tin Can]

Saw a New Morning
My Life Has Been a Song


-> A Kick in the Head is Worth Eight in the Pants
<- To Whom It May Concern


Bee Gees Top 50 1966-72
Bee Gees’ Home Page

Bee Gees – To Whom It May Concern

Not quite a coherent album, especially following Trafalgar, but one which definitely rewards repeated listens, To Whom It May Concern shows the Bee Gees firing pretty strongly during their so called wilderness years even if the album lacks a signature identity.

The two main singles are both in their familiar ballad vein but very contrasting – the smoothly reassuring Run to Me and the frantically persuasive Alive.   It’s perhaps surprising that the huge success of How Can You Mend a Broken Heart hasn’t inspired deeper ventures into smooth soul.  Run to Me really feels quite teenage beside How Can You Mend’s … silky, adult aspirations.

Elsewhere, the brothers search for new sounds and land on a number of touchstones.  Maurice is absurdly McCartnesque on You Know It’s For You, whilst Alan Kendall’s aggressive lead guitar propels Bad, Bad, Dreams into the crunchy spotlight.  Paper Mache, Cabbages and Kings is one of the wackiest tracks but it shows the Bee Gees could still marry quirkiness to a decent tune and leave you to read into the weirdness as much or as little as you like.  But perhaps most surprising is the moog prog of Please Don’t Turn Out the Lights, the closest the brothers would come to truly experimental in this incarnation at least, though it’s far from the strongest track here.

Scattergun

So diversity and a slightly low key approach ensure To Whom It May Concern is never tiring like Cucumber Castle and rarely dull like 2 Years On but, taken overall, not brilliant either.   The main problem is a lack of overall plan or purpose, its scattergun approach feeling slightly cobbled together, pervaded with a sense of doubt as to whether anyone out there was listening let alone cared.

Not many fans or casual listeners will head for this album as their first Bee Gees port of call, but when you’ve exhausted the big hitters, there are some surprises to be found here and I think you’ll find To Whom It May Concern grows on you.

 


To Whom It May Concern [1972]

Side 1
Run To Me
We Lost the Road
Never Been Alone
Paper Mache, Cabbages and Kings
I Can Bring Love
I Held a Party
Please Don’t Turn Out the Lights

Side 2
Sea of Smiling Faces
Bad Bad Dreams
You Know It’s For You
Alive
Road to Alaska
Sweet Song of Summer


Singles 1972 [related to To Whom It May Concern]

My World
On Time

Run to Me
Road to Alaska

Sea of Smiling Faces
Please Don’t Turn Out the Lights

Alive
Paper Mache, Cabbages and Kings


->  Life In a Tin Can 
<-  Trafalgar


Bee Gees Top 50 1966-72
Bee Gees’ Home Page

Bee Gees – Trafalgar

Trafalgar looks to new horizons with an uncertainty which sums up the band’s situation at the time.

Despite huge singles success with Lonely Days and How Can You Mend a Broken Heart, the Bee Gees’ chart entries increasingly feel like isolated milestones measured further apart.  But here they turn the tenuousness of their position to their advantage.

Trafalgar is simply the Bee Gees’ best early 70s album, one which needs to be heard from the first to last groove and preferably in one sitting.  Allegedly it was to have been a twenty-track opus, thus overtaking Odessa, but even in two-sided format, Trafalgar’s monumentality is an altogether more measured affair and as a twelve track album of forty-seven minutes, it doesn’t feel at all foreshortened.

Emotional landscape

At last the Bee Gees have come up with a vision for the new decade and the songs to match it.  Those who only know the Bee Gees for their ‘disco’ hits are often stunned at hearing relatively unknown tracks like Trafalgar and Walking Back to WaterlooTrafalgar is underplayed and touching whilst Walking Back to Waterloo marks a breadth, maturity and sheer emotionality which is perhaps unrivalled in the brothers’ back catalogue.

Elsewhere, the extended songs which were tiresome on 2 Years On come alive, especially Don’t Want to Live Inside Myself where Barry really expands his vocals.  They almost savage Lion in Winter whilst When Do I sounds like a strange vocal exercise.

Sensuousness, alienation, frustration, a search for the heroic and the occasional influence of The Beatles (still) are felt in Trafalgar.  Maurice’s deep bass and chordal piano sound great and Bill Shepherd’s dignified arrangements provide orchestral weight.

It’s a different landscape – moody, expansive, atmospheric – and it works.


Trafalgar [1971]

Side 1
How Can You Mend a Broken Heart

Israel
The Greatest Man in the World
It’s Just the Way
Remembering
Somebody Stop the Music

Side 2
Trafalgar
Don’t Wanna Live Inside Myself
When Do I
Dearest
Lion In Winter
Walking Back to Waterloo


Singles 1971/72 [related to Trafalgar] 

How Can You Mend a Broken Heart
Country Woman

Don’t Wanna Live Inside Myself
Walking Back to Waterloo

Israel
Dearest


Other artists 1971

Lulu – Everybody Clap


-> To Whom It May Concern
<- 2 Years On


Bee Gees Top 50 1966-72
Bee Gees’ Home Page

A Little Something Especially For You

Among the many family belongings I am still sorting through are stacks of greetings cards from the early 1950s to the early noughties.  

I thought I’d share some of those from the 60s/70s in random order across two posts. 

 


Is this charming or merely kitsch?

Happy Birthday 1969

It straightaway reminds me of the highly sentimental portraits of children lining the walls of department stores in the 70s (Woolworths, Boots, Timothy Whites).

Those shop waifs and strays invariably possessed doe eyes crying tears of dubious size down dimpled cheeks.  But this cheerful twosome have something of Bill and Penelope about them.

 


The Woolworths associations apply even more strongly to this portrait of cute, moral uprightness from the mid-late 60s probably aimed at doting grandparents:

Best wishes card

The prayerful pose would probably never find its way onto cards in our far more secular age, at least not outside of cathedral bookshops.  This isn’t how we want children to be any more.

 


I’m surprised that this Wedding Anniversary card dates from as late as 1966:

Birthday 1966

It could easily be from at least a decade earlier.  I imagine the vase carefully positioned in a palatial hallway by a butler’s begloved hands.

My collection is stuffed with variations on these rather stiff bouquets in as assortment of urns and classical vases.  They strike me as emblems of prestige though not of material aspiration, representing a kind of official good taste.  But they are also dull and respectable, joyless even.

In an age of care bears and other fluff, it’s the adult seriousness of this card which dates it most.

 


This has 1960s stamped all over it:

Anniversary card 1960s

The chequered brown, yellow and green background adds a modernist touch though the card belongs squarely next to a gilt carriage clock on a tiled mantelpiece.  When I look at this, I hear Frank Chacksfield, Royal Daffodil or perhaps Jim Reeves. 

 


A card which inspired a dozen These You Have Loved  LP covers.  Or was it the other way round?

To My Darling Wife, 1960s

To be given accompanying a large box of assorted milk chocolates.  The surprisingly underplayed message is rather endearing and all the more effective for that.

 


An Englishman’s home is his castle.

It’s 1969 and here we have a reassuring image of sturdy masculinity in the making:

5 Today, 1969

Background props are crucial; the bookcase implies inculcating a love of learning but the fireplace spreads parental warmth.

More choice selections in two weeks time.

 


Moving House 
Growing up with Lego
Cuisenaire rods
Playplax

Bee Gees – Idea

The first Bee Gees album which fails to satisfy yet two of their all-time killer songs are to be found here.

Unlike its late 60s counterparts, Idea lacks coherency.  1st fizzes with quirky likeability, Horizontal explores new territories and Odessa luxuriates in ambitious orchestral grandeur.  But Idea?  Well what was the idea apart from producing another outlet for Bee Gees’ songs?  Probably just that.  Given the pace at which the brothers were working at the time, it’s not surprising that about half of Idea sounds like set aside material.

Two sided

Idea is an album of two sides in more than just the literal sense.

Side One is largely content to tread water.  We have the swooning, overly lush concoction Let There Be Love (though wonderful sostenuto vocals), the folk/country-lite of Kitty Can, a heartfelt though merely pleasant ballad from Robin (In the Summer of His Years – in memory of Brian Epstein) and the enjoyable while it lasts Indian Gin and Whiskey DryDown to Earth is hugely promising but criminally under-developed (did David Bowie ever hear it?).  Vince gets his sole bite of the cherry on Such a Shame but his guitar and harmonica outing is little more than an enjoyable diversion.

There’s nothing that’s bad here, just little that’s inspiring.

Bright Ideas

But then it all kicks off with the pent-up restlessness of Idea (or the top notch soul of I’ve Gotta Get a Message To You if you’re listening to the US or South African Idea) building to the magisterial humility of I Started a Joke and the dignified finale Swan Song which is Where the Swallows Fly without the hyperbole.  Along the way, the understated Kilburn Towers provides a delightfully whimsical digression.

So what you’re left with is the deceptive feeling of a Bee Gees album as good as any other – in fact one which includes two stellar classics in I’ve Gotta get a Message to You and I Started a Joke – because by the album’s close, the far superior second half has so thoroughly eclipsed the memory of the somewhat ordinary first.


Idea [1968]

Side 1
Let There Be Love

Kitty Can
In the Summer of His Years
Indian Gin and Whiskey Dry
Down to Earth
Such a Shame
I’ve Gotta Get a Message To You*

Side 2
Idea
When the Swallows Fly
I Have Decided To Join the Air Force
I Started a Joke
Kilburn Towers
Swan Song

* US/South African LP version only in place of Such a Shame


Singles 1968 [related to Idea]

Jumbo
The Singer Sang His Song

I’ve Gotta Get a Message To You
Kitty Can

I Started a Joke
Kilburn Towers


Unreleased 1968

Chocolate Symphony*
Bridge Crossing Rivers*
Completely Unoriginal*
Come Some Christmas Eve or Halloween*
Gena’s Theme*
Another Cold and Windy Day (Coke Spot #1)*
Sitting in the Meadow (Coke Spot #2)*

* released on Idea Rhino reissue, 2006


-> Odessa
<- Horizontal

 

Bee Gees Top 50 1966-72
Bee Gees’ Home Page

Bee Gees – Horizontal

The declamatory opening bars of World hammer home the psychedelia of Horizontal but it’s less quirky than on Bee Gees 1st and decidedly heavier too.  The band stray into interesting new territories such as chanson, Really and Sincerely, and blues rock, The Change Is Made.

Some of 1st‘s wayward edges have been ironed out so that Horizontal has a more settled, consolidated feel.  The song-writing is solid, sometimes inspired, and they convince across the range.  Surprisingly, instead of expanding the soul repertoire of 1st it’s pretty much abandoned here.

The depressed album

Often labelled the Bee Gees’ depressed album, Horizontal has a remarkable coherency.  

I find the flow of Side 1 the most satisfying in their back catalogue; as one song fades you can’t wait for the next because you feel a growing confidence in their hands.  Really and Sincerely somehow manages to build upon the emotion of And the Sun Will Shine. Between those two highs Lemons Never Forget provides some necessary acidity and channels the Beatles less slavishly than In My Own Time whilst the wistful, subtly playful Birdie takes the emotional impact down a few notches just when needed.  Side 1’s spinoff, Barry‘s spotlight centre stage solo With the Sun in My Eyes, envelopes you in love’s warm glow.

Side 2 is the lesser, lumbered as it is with the resolutely mainstream Massachusetts but the final three tracks intrigue, hinting at an alternative more rock oriented Bee Gees, an option which the band would only occasionally take up.

As for the depression, it’s there but Horizontal is by no means a depressing listen.  Yes, there is bitterness – The Change Is Made – and queasy otherworldliness – Horizontal – but the eye opening World is breathtaking as well as post-traumatic and the painfully naked Really and Sincerely ultimately cathartic.

Truly lush

Crucially, they show their prettier side without just layering on the strings.  Birdie is truly lush thanks to Vince’s warm guitar licks and regret beautifully poised on Day Time Girl, the album’s dark horse and one of their finest ballads.  Both have terrific chord modulations and lovely melodies.

Bee Gees 1st is a fresher, more diverting album but Horizontal the more satisfying. 


Horizontal [1968]

Side 1
World
And the Sun Will Shine
Lemons Never Forget
Really and Sincerely
Birdie Told Me
With The Sun In My Eyes

Side 2
Massachusetts
Harry Braff
Day Time Girl
The Ernest Of Being George
The Change Is Made
Horizontal


Singles 1967/68 [related to Horizontal]

Massachusetts
Barker of the UFO

World
Sir Geoffrey Saved the World

Words*
Sinking Ships

* Words, a non-album track, was recorded the same day as World (3rd October 1967) and so in that sense can be said to be Horizontal-related 


Unreleased 1968

Out of Line*
Ring My Bell*
Mrs Gillespie’s Refridgerator*
Deeply, Deeply Me*
All My Christmases Came at Once*
Thank You for Christmas*
Medley: Silent Night/Hark the Herald Angels Sing*

* released on Horizontal Rhino reissue, 2006


-> Idea
<- Bee Gees 1st


Bee Gees Top 50 1966-72
Bee Gees’ Home Page