It’s Just the Way

No. 35 in Top 50 Bee Gees’ Songs 1966-72

Written by: Maurice Gibb
Lead Vocal: Maurice
Album: Trafalgar 1971


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“You don’t love me anymore, then goodbye”

Just a fine, semi-acoustic ballad from Maurice, charting his feelings as his relationship with Lulu comes to an end.

Characteristically understated, he simply relates how he feels in an unadorned way, looking ahead to a future which seems bereft.  There is a wish that friendship might yet emerge from the rubble, but the closing line is the sober dawning that ‘I only know that friends can’t be lovers again’.  Bill Shepherd’s sustained closing strings (highly characteristic of Trafalgar) are a long stare towards new horizons.

On an album of extended orchestral expositions, It’s Just the Way has a refreshing simplicity and directness.

Everybody Clap Lulu’s 1971 single written by Maurice

No 34 The Change is Made
No 36 Turning Tide

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Everybody Clap

No. 50 in Top 50 Bee Gees’ Songs 1966-72

By Maurice Gibb
Lead Vocal: Lulu
Single A-side, 1971


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“To the sound of the music”

A rarely played, almost forgotten piece of disposable 1971 pure-pop.

The Bee Gees could handle profundity when required, produce a progressive manifesto or two and would rise to the experimental podium if need be but they never forgot the knack of producing sugar high three minute pop which, in 1971, was Everybody Clap.

Written by Maurice in a style not too dis-similar to his solo album of a year earlier, Clap pulls on hot-pants and white PVC boots and turns up the infectious quotient toe-tappingly high.  Lulu’s voice is perfect for the song’s good time soulfulness.

Clap exists in that fascinating feathercut hinterland which was post-‘60s but not quite peak-period full-on ‘70s pop.  The acoustic and hi-hat intro is at the poppiest possible end of folk-rock and very 1971 (Honeybus, Marvin Welch and Farrer, ‘Cousin Norman’ era Marmalade).  So too are the fat bass and drums which quickly come in along with wailing vocals. Maurice plays on the Top Of the Pops clip [above], seemingly having a great time despite his failing relationship with Mrs. Lawrie.

There is something of Middle of the Road’s highly contemporary sound in ‘Everybody Clap’.  It’s tinged with ever so early glam, a little bit tribal, a glam baby that’s not quite learned to stomp, still pulling at the slightly tattered apron strings of a cute Beatley communal vibe.

‘Everybody Clap’ has ‘hit single’ written all over it and yet it wasn’t.  It is now.

No 49 Who Knows What a Room Is