Don't judge me.
It showed up in the dollar bin, and it was in pretty good shape, and over the years my appreciation for their stuff has actually surprised me. Unless you were a hardcore fan who thought they'd jumped the shark on an ironing board after their initial run in the '60s, this collection was all you'd ever need.
When I was living through disco hell first hand in real time, a lot of what was passing for music just seemed so basic and lifeless. Oh sure, it had a beat, it had to have a beat so you could zombie dance as you jerked from one foot to another and occasionally moved your arms. Of course, there were always a few who knew more than the basic moves and expected you and everyone else to form a circle and clap for them. I think this is where the phrase "Circle Jerk" comes from ... I could be wrong, don't quote me.
Then there was the stuff by the Bee Gees. There was nothing basic or simple about their arrangements. Even back then I secretly liked a lot of what I heard. You had to give a nod to good when you heard it. They were next level good, and they knew it ... and for a few short years, that seemed like an eternity, they absolutely ruled the world. Then the '70s ended and suddenly it was over.
This collection would end up being one among many, but this was the first. By 1979, the writing was on the wall, and while this went platinum, it was a deep death rattle for all things associated with disco and the double album was top heavy with the first side being all killer and no filler. One after another:
- "Jive Talkin'"
- "Night Fever"
- "Tragedy"
- "You Should Be Dancing"
- "Stayin' Alive"
They should have stopped there and it would have been more than enough. As good old Ron Popeil would say, "But wait, there's more!" Except there wasn't. For me, this is where it becomes a case of diminishing returns. After side two (on the second record, yeah, this was still from the age of stack and play) opens with "How Deep Is Your Love," a song I never really liked, but a lot of people loved it, things start to get watered down, as one weaker song after another comes and goes. I'm not sure when the ballad took over, but this side assembled what I assume was the best of their worst and filled up an entire side with songs guaranteed to help you nod off (do not play while driving). This side couldn't end fast enough. Apparently, my love for this side was not nearly deep enough.
Here we go, I'm putting the first record on to get back to side 3. I suspect this is the first and last time I'll play the albums in order. Right out of the gate, I'm feeling like I'm sitting through an elementary school talent show. Now, that's more than a little harsh, and I'll admit that "If I Can't Have You" is decent, but there's a reason it was a "B" side when it came out. I'm seriously wondering who thought it was a good idea to cull a double album of mid tempo songs from their catalogue. More isn't always more, sometimes more is too much.
As I listen to this, I'm looking for something to catch my ear, but the songs aren't holding my attention, and when I hear something interesting I put too much emphasis on it as if that's the bit that will redeem the whole. Nope. Right about now, the album is feeling like a whole lot of filler. There are a couple of excruciating songs here. I may break my own rules about sitting patiently and giving this a proper play and go and pick up the needle ... no, I will persevere. Oh my, "More Than a Woman" is up now, and because I remember the song it almost feels like an old friend. Familiarity breeds contempt, and I didn't like it then ... not much has changed. I wish I knew why I'm imagining Robert Wagner and Stefanie Powers (her hair blowing in the wind) standing around looking all self important. All I'm missing is Max, the loyal butler from Hart to Hart, played by actor Lionel Stander, providing a voice over telling me how awesome this was. This side finally closes out with "Fanny," a country song. At this point it was just par for the course. Of course it was country.
Here we go, the home stretch. I think I've gone a little ear blind. The best I can say is that the songs are listenable, but honestly there wasn't anything here that made me sit up and take notice. It is what it is. I'm sure for the initiated this was the stuff of genius and I'm just showing my lack of cultured upbringing. Fair, I'll admit to eating dinner with a salad fork.
There are a couple of ways to look at all this ... the first is as a fan. As a fan, the structure of the album was tailored to appease the casual and fanatic. The first side was the big chart killers, and then the album was carefully assembled to put all of the ballads together, and then another side had the B sides and rarities, and then finally a few deeper cuts at the end. All good, and everyone was happy. As a casual, I can see playing side one once in a while. Those are bangers.
The second way to look at it is this is a bloated, overly long and heavily watered down collection that stretches the word greatest until it doesn't mean anything.
I'm thinking this was number 2. A lot of number 2.
While my teenage self would welcome taking any opportunity to shit on disco and the Bee Gees, I'll put myself in the casual camp and be thankful the best 25% was up top, and for that it really was the greatest by the Bee Gees.
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