BEE GEES

Born on the Isle of Man during the 1940s, the Gibb brothers moved to their father Hugh Gibb's hometown of Chorlton-cum-Hardy, Manchester, England in 1955. They formed a skiffle/rock-and-roll group, the Rattlesnakes, which consisted of Barry on guitar and vocals, Robin and Maurice on vocals and friends Paul Frost on drums and Kenny Horrocks on tea-chest bass. In December 1957, the boys began to sing in harmony. The story is told that they were going to lip sync to a record in the local Gaumont cinema (as other children had done on previous weeks), but as they were running to the theatre, the fragile shellac 78-RPM record broke. The brothers had to sing live and received such a positive response from the audience that they decided to pursue a singing career. In May 1958, the Rattlesnakes were disbanded when Frost and Horrocks left, so the Gibb brothers then formed Wee Johnny Hayes and the Blue Cats, with Barry as Johnny Hayes.

In August 1958, the Gibb family, including older sister Lesley and infant brother Andy, emigrated to Redcliffe, just north-east of Brisbane in Queensland, Australia. The young brothers began performing to raise pocket money. They were introduced to Brisbane radio presenter jockey Bill Gates by speedway promoter and driver Bill Goode, who had hired the brothers to entertain the crowd at the Redcliffe Speedway in 1960. The crowd at the speedway would throw money onto the track for the boys, who generally performed during the interval of meetings (usually on the back of a truck that drove around the track) and, in a deal with Goode, any money they collected from the crowd they were allowed to keep. Gates renamed them the BGs (later changed to "Bee Gees") after his, Goode's and Barry Gibb's initials. The name was not specifically a reference to "Brothers Gibb", despite popular belief.

By 1960, the Bee Gees were featured on television shows, including their performance of "Time Is Passing By". In the next few years they began working regularly at resorts on the Queensland coast. For his songwriting, Barry sparked the interest of Australian star Col Joye, who helped them get a recording deal in 1963 with Festival Records subsidiary Leedon Records, under the name "Bee Gees". The three released two or three singles a year, while Barry supplied additional songs to other Australian artists. In 1962, the Bee Gees were chosen as the supporting act for Chubby Checker's concert at the Sydney Stadium. From 1963 to 1966, the Gibb family lived at 171 Bunnerong Road, Maroubra, in Sydney. Just prior to his death, Robin Gibb recorded the song "Sydney," about the brothers' experience of living in that city. It was released on his posthumous album 50 St. Catherine's Drive. The house was demolished in 2016.

A minor hit in 1965, "Wine and Women", led to the group's first LP, 'The Bee Gees Sing and Play 14 Barry Gibb Songs'. By 1966 Festival was, however, on the verge of dropping them from the Leedon roster because of their perceived lack of commercial success. It was at this time that they met the American-born songwriter, producer and entrepreneur Nat Kipner, who had just been appointed A&R manager of a new independent label, Spin Records. Kipner briefly took over as the group's manager and successfully negotiated their transfer to Spin in exchange for granting Festival the Australian distribution rights to the group's recordings. 

Through Kipner the Bee Gees met engineer-producer, Ossie Byrne, who produced (or co-produced with Kipner) many of the earlier Spin recordings, most of which were cut at his own small, self-built St Clair Studio in the Sydney suburb of Hurstville. Byrne gave the Gibb brothers virtually unlimited access to St Clair Studio over a period of several months in mid-1966. The group later acknowledged that this enabled them to greatly improve their skills as recording artists. During this productive time they recorded a large batch of original material—including the song that would become their first major hit, "Spicks and Specks" (on which Byrne played the trumpet coda)—as well as cover versions of current hits by overseas acts such as the Beatles. They regularly collaborated with other local musicians, including members of beat band Steve & The Board, led by Steve Kipner, Nat's teenage son.

Frustrated by their lack of success, the Gibbs began their return journey to England on 4 January 1967, with Ossie Byrne travelling with them. While at sea in January 1967, the Gibbs learned that "Spicks and Specks" had been awarded Best Single of the Year by Go-Set, Australia's most popular and influential music newspaper. Before their departure from Australia to England, Hugh Gibb sent demos to Brian Epstein, who managed the Beatles and directed NEMS, a British music store. Epstein passed the demo tapes to Robert Stigwood, who had recently joined NEMS. After an audition with Stigwood in February 1967, the Bee Gees signed a five-year contract whereby Polydor Records would release their records in the UK, and Atco Records would do so in the US. Work quickly began on the group's first international album, and Stigwood launched a promotional campaign to coincide with its release.

Stigwood proclaimed that the Bee Gees were "The most significant new musical talent of 1967", thus initiating the comparison of the Bee Gees to the Beatles. Before recording the first album, the group expanded to include Colin Petersen (ex Steve and The Board) and Vince Melouney (ex Billy Thorpe and The Aztecs). "New York Mining Disaster 1941," their second British single (their first-issued UK 45 rpm was "Spicks and Specks"), was issued to radio stations with a blank white label listing only the song title. Some DJs immediately assumed this was a new single by the Beatles and started playing the song in heavy rotation. This helped the song climb into the top 20 in both the UK and US.

No such chicanery was needed to boost the Bee Gees' next single, "To Love Somebody", into the US Top 20. Originally written for Otis Redding, "To Love Somebody", a soulful ballad sung by Barry, has since become a pop standard covered by many artists. Another single, "Holiday", released in the US, peaked at #16. The parent album, Bee Gees 1st (their first internationally), peaked at #7 in the US and #8 in the UK. Bill Shepherd was credited as the arranger. After recording that album, the group recorded their first BBC session at the Playhouse Theatre, Northumberland Avenue, in London, with Bill Bebb as the producer, and they performed three songs. That session is included on 'BBC Sessions: 1967–1973' (2008). After the release of 'Bee Gees' 1st', the group was first introduced in New York as "the English surprise." At that time, the band made their first British TV appearance on Top of the Pops. 

In late 1967, they began recording for the second album.  In February, 'Horizontal' repeated the success of their first album, featuring the group's first UK #1 single "Massachusetts" (a #11 US hit) and the #7 UK single "World." The sound of the album 'Horizontal' had a more "rock" sound than their previous release, although ballads like "And the Sun Will Shine" and "Really and Sincerely" were also prominent. The Horizontal album reached #12 in the US and #16 in the UK.

Two more singles followed in early 1968: the ballad "Words" ( #8 UK, #15 US) and the double A-sided single "Jumbo" backed with "The Singer Sang His Song". "Jumbo" only reached #25 in the UK and #57 in the US. The Bee Gees felt "The Singer Sang His Song" was the stronger of the two sides, an opinion shared by listeners in the Netherlands who made it a #3 hit. Further Bee Gees chart singles followed: "I've Gotta Get a Message to You", their second UK #1 (#8 US), and "I Started a Joke" (#6 US), both culled from the band's third album 'Idea'. 'Idea' reached #4 in the UK and was another top 20 album in the US (#17). Melouney left the band desiring to play more of a blues style music than the Gibbs were writing.

The band began recording their sixth album, which resulted in their spending a week recording at Atlantic Studios in New York. Robin, still feeling poorly, missed the New York sessions, but the rest of the band put away instrumental tracks and demos. By 1969, Robin began to feel that Stigwood had been favouring Barry as the frontman. The Bee Gees' performances in early 1969 on the Top of the Pops and The Tom Jones Show performing "I Started a Joke" and "First of May" as a medley was one of the last live performances of the group with Robin.

Their next album, which was to have been a concept album called 'Masterpeace', evolved into the double-album 'Odessa'. Most rock critics felt this was the best Bee Gees album of the 1960s with its progressive rock feel on the title track, the country-flavoured "Marley Purt Drive" and "Give Your Best", and ballads such as "Melody Fair" and "First of May" (the last of which became the only single from the album and a UK # 6 hit). Feeling the flipside, "Lamplight," should have been the A-side, Robin quit the group in mid-1969 and launched a solo career.

The first of many Bee Gees compilations, 'Best of Bee Gees', was released featuring the non-LP single "Words" plus the Australian hit "Spicks and Specks". The single "Tomorrow Tomorrow" was also released and was a moderate hit in the UK, where it reached #23, but it was only #54 in the US. The compilation reached the top 10 in both the UK and the US. While Robin pursued his solo career, Barry, Maurice and Petersen continued on as the Bee Gees recording their next album, 'Cucumber Castle'. After the album was released in early 1970 Petersen was sacked and it seemed that the Bee Gees were finished. The leadoff single, "Don't Forget to Remember", was a big hit in the UK, reaching #2, but only reached #73 in the US. The next two singles, "I.O.I.O." and "If I Only Had My Mind on Something Else", barely scraped the charts. On 1 December 1969, Barry and Maurice parted ways professionally.

In mid 1970, according to Barry, "Robin rang me in Spain where I was on holiday 'let's do it again'". By 21 August 1970, after they had reunited, Barry announced that the Bee Gees "are there and they will never, ever part again". Maurice said, "We just discussed it and re-formed. We want to apologise publicly to Robin for the things that have been said." Earlier, in June 1970, Robin and Maurice recorded a dozen songs before Barry joined and included two songs that were on their reunion album. They also recruited Geoff Bridgford as the group's official drummer. Bridgford had previously worked with The Groove and Tin Tin and played drums on Maurice's unreleased first solo album.

In 1970, '2 Years On' was released in October in the US and November in the UK. The lead single "Lonely Days" reached #3 in the United States, promoted by appearances on The Johnny Cash Show, Johnny Carson's Tonight Show, The Andy Williams Show, The Dick Cavett Show and The Ed Sullivan Show. Their ninth album, 'Trafalgar', was released in late 1971. The single "How Can You Mend a Broken Heart" was their first to hit #1 on the US charts, while "Israel" reached #22 in the Netherlands. "How Can You Mend a Broken Heart" also brought the Bee Gees their first Grammy Award nomination for Best Pop Performance by a Duo or Group with Vocals. Later that year, the group's songs were included in the soundtrack for the film Melody.

In 1972, they hit #16 in the US with the non-album single "My World", backed by Maurice's composition "On Time". Another 1972 single, "Run to Me" from the LP 'To Whom It May Concern', returned them to the UK top 10 for the first time in three years. By 1973, however, the Bee Gees were in a rut. The album 'Life in a Tin Can', released on Robert Stigwood's newly formed RSO Records, and its lead-off single, "Saw a New Morning", sold poorly with the single peaking at #94. This was followed by an unreleased album (known as 'A Kick in the Head Is Worth Eight in the Pants'). A second compilation album, 'Best of Bee Gees, Volume 2', was released in 1973, although it did not repeat the success of Volume 1. 

After a tour of the United States in early 1974 and a Canadian tour later in the year, the group ended up playing small clubs.As Barry joked, "We ended up in, have you ever heard of Batley's the variety club in (West Yorkshire) England?". On the advice of Ahmet Ertegun, head of their US label Atlantic Records, Stigwood arranged for the group to record with soul music producer Arif Mardin. The resulting LP, 'Mr. Natural', included fewer ballads and foreshadowed the R&B direction of the rest of their career. When it, too, failed to attract much interest, Mardin encouraged them to work within the soul music style. 

At Eric Clapton's suggestion, the brothers moved to Miami, Florida, early in 1975 to record at Criteria Studios. After starting off with ballads, they eventually heeded the urging of Mardin and Stigwood, and crafted more dance-oriented disco songs, including their second US #1, "Jive Talkin'", along with US #7 "Nights on Broadway". The band liked the resulting new sound. This time the public agreed by sending the LP 'Main Course' up the charts. This album included the first Bee Gees songs wherein Barry used falsetto, something that would later become a trademark of the band. This was also the first Bee Gees album to have two US top-10 singles since 1968's 'Idea'. 'Main Course' also became their first charting R&B album.

The next album, 'Children of the World', released in September 1976. The first single from the album was "You Should Be Dancing", which features percussion work by musician Stephen Stills. The song pushed the Bee Gees to a level of stardom they had not previously achieved in the US, though their new R&B/disco sound was not as popular with some diehard fans. The pop ballad "Love So Right" reached #3 in the US, and "Boogie Child" reached US #12 in January 1977. The album peaked at #8 in the US. Following a successful live album, 'Here at Last... Bee Gees... Live', the Bee Gees agreed with Stigwood to participate in the creation of the 'Saturday Night Fever' soundtrack. It would be the turning point of their career. The cultural impact of both the film and the soundtrack was seismic throughout the world, prolonging the disco scene's mainstream appeal.

The band's involvement in the film did not begin until post-production. As John Travolta asserted, "The Bee Gees weren't even involved in the movie in the beginning ... I was dancing to Stevie Wonder and Boz Scaggs." Producer Robert Stigwood commissioned the Bee Gees to create the songs for the film. The brothers wrote the songs "virtually in a single weekend" at Château d'Hérouville studio in France. Barry Gibb remembered the reaction when Stigwood and music supervisor Bill Oakes arrived and listened to the demos: ''They flipped out and said these will be great. We still had no concept of the movie, except some kind of rough script that they'd brought with them. ... You've got to remember, we were fairly dead in the water at that point, 1975, somewhere in that zone—the Bee Gees' sound was basically tired. We needed something new. We hadn't had a hit record in about three years. So we felt, Oh Jeez, that's it. That's our life span, like most groups in the late '60s. So, we had to find something. We didn't know what was going to happen''.

Bill Oakes, who supervised the soundtrack, asserts that 'Saturday Night Fever' did not begin the disco craze but rather prolonged it: "Disco had run its course. These days, Fever is credited with kicking off the whole disco thing—it really didn't. Truth is, it breathed new life into a genre that was actually dying." Three Bee Gees singles—"How Deep Is Your Love" (US #1, UK #3), "Stayin' Alive" (US #1, UK #4) and "Night Fever" (US #1, UK #1)—charted high in many countries around the world, launching the most popular period of the disco era. They also penned the song "If I Can't Have You", which became a US #1 hit for Yvonne Elliman, while the Bee Gees' own version was the B-side of "Stayin' Alive". Such was the popularity of 'Saturday Night Fever' that two different versions of the song "More Than a Woman" received airplay, one by the Bee Gees, which was relegated to an album track, and another by Tavares, which was the hit.

Fuelled by the film's success, the soundtrack broke multiple industry records, becoming the highest-selling album in recording history to that point. With more than 40 million copies sold, 'Saturday Night Fever' is among music's top five best selling soundtrack albums. As of 2010, it is calculated as the fourth highest-selling album worldwide. In March 1978, the Bee Gees held the top two positions on the US charts with "Night Fever" and "Stayin' Alive", the first time this had happened since the Beatles. On the US Billboard Hot 100 chart for 25 March 1978, five songs written by the Gibbs were in the US top 10 at the same time: "Night Fever", "Stayin' Alive", "If I Can't Have You", "Emotion" and "Love Is Thicker Than Water". Such chart dominance had not been seen since April 1964, when the Beatles had all five of the top five American singles. Barry Gibb became the only songwriter to have four consecutive number-one hits in the US, breaking the John Lennon and Paul McCartney 1964 record. These songs were "Stayin' Alive", "Love Is Thicker Than Water", "Night Fever" and "If I Can't Have You".

The Bee Gees won five Grammy Awards for 'Saturday Night Fever' over two years: Album of the Year, Producer of the Year (with Albhy Galuten and Karl Richardson), two awards for Best Pop Performance by a Duo or Group with Vocals (one in 1978 for "How Deep Is Your Love" and one in 1979 for "Stayin' Alive"), and Best Vocal Arrangement for Two or More Voices for "Stayin' Alive". During this era, Barry and Robin also wrote "Emotion" for an old friend, Australian vocalist Samantha Sang, who made it a top 10 hit, with the Bee Gees singing backing vocals. Barry also wrote the title song to the film version of the Broadway musical Grease for Frankie Valli to perform, which went to #1.

The Bee Gees' follow-up to Saturday Night Fever was the 'Spirits Having Flown' album. It yielded three more hits: "Too Much Heaven" (US #1, UK #3), "Tragedy" (US #1, UK #1), and "Love You Inside Out" (US #1, UK #13). This gave the act six consecutive #1 singles in the US within a year and a half, equaling the Beatles and surpassed only by Whitney Houston. The Bee Gees' overwhelming success rose and fell with the disco bubble. By the end of 1979, disco was rapidly declining in popularity, and the backlash against disco put the Bee Gees' American career in a tailspin. Radio stations around the US began promoting "Bee Gee-Free Weekends". Following their remarkable run from 1975 to 1979, the act would have only one more top 10 single in the US, and that would not come until the single "One" reached #7 in 1989.

In 1981, the Bee Gees released the album 'Living Eyes', their last full-length album release on RSO. This album was the first CD ever played in public, when it was played to viewers of the BBC show 'Tomorrow's World'. With the disco backlash still running strong, the album failed to make the UK or US Top 40—breaking their streak of Top 40 hits, which started in 1975 with "Jive Talkin'". Two singles from the album fared little better—"He's a Liar", which reached #30 in the US, and "Living Eyes", which reached #45.

The Bee Gees released the album 'E.S.P.' in 1987, which sold over 3 million copies. It was their first album in six years, and their first for Warner Bros. Records. The single "You Win Again" went to #1 in numerous countries, including the UK, and made the Bee Gees the first group to score a UK #1 hit in each of three decades: the 1960s, 1970s, and 1980s. The single was a disappointment in the US, charting at #75, and the Bee Gees voiced their frustration over American radio stations not playing their new European hit single, an omission which the group felt led to poor sales of their current album in the US. The song won the Bee Gees the 1987 British Academy's Ivor Novello Award for Best Song Musically and Lyrically, and in February 1988 the band received a Brit Award nomination for Best British Group.

Following their next album, 'High Civilization' (1991), which contained the UK top five hit "Secret Love", the Bee Gees went on a European tour. After the tour, Barry Gibb began to battle a serious back problem, which required surgery. In addition, he suffered from arthritis which, at one point, was so severe that it was doubtful that he would be able to play guitar for much longer. Also, in the early 1990s, Maurice Gibb finally sought treatment for his alcoholism, which he had battled for many years with the help of Alcoholics Anonymous. In 1993, the group returned to the Polydor label and released the album 'Size Isn't Everything', which contained the UK top five hit "For Whom the Bell Tolls". Success still eluded them in the US, however, as the first single released, "Paying the Price of Love", only managed to reach #74 on the Billboard Hot 100, while the parent album stalled at #153.

In 1997, they released the album 'Still Waters', which sold over four million copies and reached #2 in the UK (their highest album chart position there since 1979) and #11 in the US. The album's first single, "Alone", gave them another UK Top 5 hit and a top 30 hit in the US. 'Still Waters' would be the band's most successful US release of their post-RSO era.

At the 1997 BRIT Awards held in Earls Court, London on 24 February, the Bee Gees received the award for Outstanding Contribution to Music. On 14 November 1997, the Bee Gees performed a live concert in Las Vegas called One Night Only. The show included a performance of "Our Love (Don't Throw It All Away)" synchronised with a vocal by their deceased brother Andy and a cameo appearance by Celine Dion singing "Immortality". The CD of the performance sold over 5 million copies. The "One Night Only" name grew out of the band's declaration that, due to Barry's health issues, the Las Vegas show was to be the final live performance of their career. After the immensely positive audience response to the Vegas concert, Barry decided to continue despite the pain, and the concert expanded into their last full-blown world tour of "One Night Only" concerts. The tour included playing to 56,000 people at London's Wembley Stadium on 5 September 1998 and concluded in the newly built Olympic Stadium in Sydney, Australia on 27 March 1999 to 72,000 people.

The Bee Gees closed the century with what turned out to be their last full-sized concert, known as BG2K, on 31 December 1999. In 2001, the group released what turned out to be their final album of new material, 'This Is Where I Came In'. The album was another success, reaching the Top 10 in the UK (being certified Gold), and the Top 20 in the US. The title track was also a UK Top 20 hit single. The last concert of the Bee Gees as a trio was at the Love and Hope Ball in 2002. Maurice Gibb died unexpectedly on 12 January 2003, at age 53, from a heart attack while awaiting emergency surgery to repair a strangulated intestine. Initially, his surviving brothers announced that they intended to carry on the name "Bee Gees" in his memory, but as time passed, they decided to retire the group's name, leaving it to represent the three brothers together.

On 23 February 2003, the Bee Gees received the Grammy Legend Award, they also became the first recipients of that award in the 21st century. Barry and Robin accepted as well as Maurice's son, Adam, in a tearful ceremony. In February 2006, Barry and Robin reunited on stage for a Miami charity concert to benefit the Diabetes Research Institute. It was their first public performance together since Maurice's death. The pair also played at the 30th annual Prince's Trust Concert in the UK on 20 May 2006.

Barry and Robin performed on the BBC's Strictly Come Dancing on 31 October 2009 and appeared on ABC-TV's Dancing with the Stars on 17 November 2009. On 15 March 2010, Barry and Robin inducted the Swedish group ABBA into the Rock and Roll Hall of Fame. On 26 May 2010, the two made a surprise appearance on the ninth-season finale of American Idol.

On 20 November 2011 it was announced that Robin Gibb, at 61 years old, had been diagnosed with liver cancer, a condition he had become aware of several months earlier. He had become noticeably thinner in previous months and had to cancel several appearances due to severe abdominal pain. Robin joined British military trio the Soldiers for the Coming Home charity concert on 13 February 2012 at the London Palladium, in support of injured servicemen. It was his first public appearance for almost five months and, as it turned out, his final one. On 14 April 2012, it was reported that Robin had contracted pneumonia in a Chelsea hospital and was in a coma. Although he came out of his coma on 20 April 2012, his condition deteriorated rapidly, and he died on 20 May 2012 of liver and kidney failure.

SINGLES

''The Battle Of The Blue And The Grey (#98) / The Three Kisses Of Love'' 1963 Leedon

''Timber! (#75) / Take Hold Of That Star'' 1963 Leedon

''Peace Of Mind / Don't Say Goodbye'' 1964 Leedon

''Claustrophobia / Could It Be'' 1964 Leedon

''Turn Around, Look At Me (#94) / Theme From Jaimie McPheeters'' 1964 Leedon

'' House Without Windows / And I'll Be Happy'' [with Trevor Gordon] 1965 Leedon

''Everyday I Have To Cry / You Wouldn't Know'' 1965 Leedon

''Wine and Women (#47) / Follow The Wind'' 1965 Leedon

''I Was A Lover, A Leader Of Men (#85) / And The Children Laughing'' 1965 Leedon

''I Want Home / Cherry Red'' 1966 Leedon

''Monday's Rain / All Of My Life'' 1966 Spin

''Spicks And Specks (#5) / I Am The World'' 1966 Spin

''Born A Man (#86) / Big Chance'' 1967 Spin

''New York Mining Disaster, 1941 (#11) / I Can't See Nobody'' 1967 Spin

''To Love Somebody (#6) / Close Another Door'' 1967 Spin

''Massachusetts (The Lights Went Out In) (#2) / Barker Of The U.F.O.'' 1967 Spin

''World (#6) / Sir Geoffrey Saved The World'' 1967 Spin

''Jumbo (#20) / The Singer Sang His Song'' 1968 Spin

''Words (#13) / Sinking Ships'' 1968 Spin

''I've Gotta Get A Message To You (#3) / Kitty Can'' 1968 Spin

'' I Started A Joke (#1) / Kilburn Towers'' 1969 Spin

''First Of May (#15) / Lamplight'' 1969 Spin

''Tomorrow Tomorrow (#28) / Sun In My Morning'' 1969 Spin

''Don't Forget To Remember (#10) / The Lord'' 1969 Spin

''I.O.I.O. (#14) / Sweetheart'' 1970 Spin

''Lonely Days (#9) / Man For All Seasons'' 1970 Spin

''How Can You Mend A Broken Heart (#3) / Country Woman'' 1971 Spin

''My World (#3) / On Time'' 1972 Spin

''Run To Me (#3) / Road To Alaska'' 1972 Spin

'' Alive (#45) / Paper Mache, Cabbages And Kings'' 1972 Spin

''Saw A New Morning (#38) / My Life Has Been A Song'' 1973 Spin

''Wouldn't I Be Someone / I Held A Party'' 1973 Spin

''Mr. Natural (#11) / It Doesn't Matter Much To Me'' 1974 Spin

''Jive Talkin' (#14) / Wind Of Change'' 1975 Spin

''Nights On Broadway (#67) / Edge Of The Universe'' 1975 Interfusion

'' Fanny (Be Tender With My Love) (#61) / Country Lanes'' 1976 Interfusion

''You Should Be Dancing (#20) / Subway'' 1976 Interfusion

''Boogie Child / Love So Right (#28)'' 1977 RSO

''Children Of The World (#84) / Lovers'' 1977 RSO

''Edge Of The Universe / Words'' 1977 RSO
''How Deep Is Your Love (#3) / Can't Keep A Good Man Down'' 1977 RSO

''Stayin' Alive (#1) / If I Can't Have You'' 1978 RSO

''Night Fever (#7) / Down The Road'' 1978 RSO

''More Than A Woman (#31) / Children Of The World'' 1978 RSO

''Spicks And Specks / Storm'' 1978 Infinity

''Too Much Heaven (#5) / Rest Your Love On Me'' 1978 RSO

''Tragedy (#2) / Until'' 1979 RSO

'' Love You Inside Out (#77) / I'm Satisfied'' 1979 RSO

''He's A Liar (#38) / He's A Liar (Instrumental)'' 1981 RSO

''Living Eyes / I Still Love You'' 1981 RSO

''You Win Again / Backtafunk'' 1987 Warner Bros

'' E.S.P. (#89) / Overnight'' 1987 Warner Bros

''Angela / You Win Again (#10)'' 1988 Warner Bros

''Ordinary Lives / Wing And A Prayer'' 1989 Warner Bros

''One / Flesh And Blood'' 1989 Warner Bros

'' Tokyo Nights / Will You Ever Let Me?'' 1989 Warner Bros

''Bodyguard / Will You Ever Let Me'' 1990 Warner Bros

''Secret Love (LP Version) / True Confessions'' 1990 Warner Bros

''Paying The Price Of Love'' 1993 Polydor

''For Whom The Bell Tolls'' 1997 Polydor

''Still Waters (Run Deep)'' 1997 Polydor

''This Is Where I Came In'' 2001 Polydor

EPs

'The Bee Gees' 1964 Leedon

'Wine And Women' 1965 Leedon
'Spicks And Specks' 1966 Spin

'New York Mining Disaster, 1941' 1967 Spin

'To Love Somebody' 1967 Spin

'Jumbo - The Singer Sang His Song' 1968 Spin

'World' 1968 Spin
'Massachusetts' 1968 Spin
'Words' 1968 Spin
'I've Gotta Get A Message To You' 1968 Spin
'Turn Around Look At Me' 1968 Festival
'The First Of May' 1969 Festival
'I Started A Joke' 1969 Spin
'Don't Forget To Remember' 1970 Spin
'Tomorrow Tomorrow' 1970 Spin
'Lonely Days / I.O.I.O.' 1971 Spin
''The Bee Gees' 1987 RSO

ALBUMS

'The Bee Gee's Sing & Play 14 Barry Gibb Songs' 1965 Leedon
'Spicks And Specks' 1966 Spin
'The Bee Gees 1st' (#10) 1967 Spin
'Horizontal' (#8) 1968 Spin
'Idea' (#8) 1968 Spin
'Odessa' (#13) 1969 Spin
'Cucumber Castle' (#10) 1970 Spin
'Trafalgar' (#8) 1971 Spin
'To Whom It May Concern' (#13) 1972 Spin
'Life In A Tin Can' (#19) 1973 Spin
'Mr. Natural' (#20) 1974 Spin
'Main Course' (#29) 1975 Interfusion
'Children Of The World' (#16) 1976 RSO
'Here At Last... Bee Gees ...Live' 1977 RSO
'Spirits Having Flown' (#1) 1979 RSO
'Living Eyes' (#30) 1981 RSO
'E·S·P' (#25) 1987 Warner Bros
'One' (#29) 1989 Warner Bros
'High Civilization' 1991 Warner Bros
'Size Isn't Everything' 1993 Polydor
'Still Waters' (#4) 1997 Polydor
'One Night Only' 1998 Polydor
'This Is Where I Came In' (#16) 2001 Polydor

References

http://en.wikipedia.org/wiki/Bee_Gees

http://top100singles.blogspot.com.au/