As many have said here, the Bee Gees did something truly remarkable in rock history. They followed up Saturday Night Fever, one of the greatest, most successful soundtracks ever recorded, with an equally great album that was artistically and commerically successful. The album has three of their greatest songs, Tragedy, Too Much Heaven, and Love You Inside Out, all of which were #1 hits. The title track is one of my favorite Bee Gees songs. I remember having this on vinyl, and during the "disco sucks" years (when the Bee Gees were unfairly maligned as a purely "disco" act, which they never were), I put it away. I got the CD many moons ago, and I still play it a lot (along with the Bee Gees' box set). This was the last Bee Gees album for a number of years, as the "disco sucks" years forced them to hide for a bit (thanks a lot, Steve Dahl and Gary Meier, the two shock jocks who conjured up the disco sucks phenomenon). But luckily, the Bee Gees are once again being appreciated for being fantastic musicians. And whatever happened to Steve and Gary?

If one were to assess musical artists in the Pop music era, one may not be off-base by saying that the Bee Gees are one of the Top 10 acts of all time. The Bee Gees established themselves as pop stars in the late 1960s; reinvented themselves in the 1970s as pioneers for the "Disco Era"; became acclaimed songwriters for some of pop's biggest acts in the 1980s; and then successfully made a comeback in the 1990s. It was the 1975 album "Main Course" that would be the album where the Bee Gees would reinvent themselves. "Main Course" would include a large use of synthesizers that would be key in spearheading the Bee Gees foray into the "Disco Era". While "Main Course" might be criticized because of being Disco, one cannot deny that the Bee Gees were innovators back in 1975. Following "Main Course", they would journey into the world of Disco, and ultimately the Bee Gees would reach the their highest heights with their participation on the 1977 "Saturday Night Fever" soundtrack. It was that landmark album that cemented the Bee Gees as a Hall of Fame band and made them synonymous with the Disco era. Following "Saturday Night Fever", the Bee Gees faced the challenge of following up the success of that landmark album. With the release of 1979's "Spirits Having Flown", the Bee Gees would move things in a different direction, but at the same time not be afraid to refine their sound.

Looking at the Bee Gees, I look at the group has covering three phases. "Early Bee Gees" covers the period from the inception of the group through 1973's "Life in a Tin Can" album. This period would have the Bee Gees characterized as pop artists/pop balladeers. In 1974, with the release of "Mr. Natural" would begin the "Disco Era" phase as the Bee Gees would introduce an R&B and Disco influence - as well as Barry Gibb's trademark falsetto. The "Disco Era" phase would run from 1974's "Mr. Natural" album through 1981's "Living Eyes" album. This would be the most commercially successful period for the band and would include their "Saturday Night Fever" material. When Disco went into decline, the Bee Gees would go into commercial decline. They would take some time off and focus on songwriting, and then in 1987 when they would launch their comeback. Beginning with 1987's "E.S.P." album, the Bee Gees would return to a more traditional sound becoming adult-contemporary artists. The signs of this adult-contemporary sound started to show with the release of "Spirits Having Flown". However, because this was released shortly after "Saturday Night Fever" as well as showcases Barry's Falsetto, I classify this as the "Disco Era".

Throughout their careers, Barry and Robin Gibb have often shared the lead vocals for the band. As Barry began to develop his falsetto sound, he began to assume more of the lion's share of the lead vocals. On "Spirits Having Flown", it is clearly Barry who dominates the lead vocals. As for the instrumentals, the Bee Gees continue the orchestral, R&B, and funk influences found on "Children of the World". They also continue the use of horns, but this time bring in some of the best horn players in the business - James Pankow, Walter Parazaider and Lee Loughnane from the band Chicago.

Here is a track by track review of this collection:

"Tragedy": While not as heavy a Disco sound as found on "Saturday Night Fever", this song contains all of the electricity of the Bee Gees Disco Era work. The Bee Gees make use of sound effects simulating an "explosion" toward the end of the sound..Ultimately, it is Barry's falsetto that helps bring out this intensity making for an all-time classic sound.

"Too Much Heaven": This song slows things down to more of a ballad pace. While on the prior track, Barry's falsetto helps exemplify the electricity of that fast-paced song, this time the falsetto helps exemplify the softness of the ballad. The Chicago horns section also plays a key role in the orchestral qualities.

"Love You Inside Out": Classic track and one of the band's best. This song employs a both a funk influence and a orchestral-like sound. Once again it's Barry's falsetto that comes to the top as I think it as good as it gets on this track.

"Reaching Out": Another softer sound. Barry has more trademark falsetto and does a good job building it up toward the end of the track.

"Spirits (Having Flown)": A worthy-title track and a very underrated song by the band. I like the acoustic-sounding guitar on this song. Definitely not a Disco track, but still an outstanding track. Barry does a great job with the falsetto on the chorus. Also a nice use of flutes.

"Search, Find": While Barry's falsetto is alive and well, this time it is the Chicago horns that really help this track stand out.

"Stop (Think Again)": Barry opens this track with a near a cappella falsetto. The Chicago horns and the use of the keyboards will later supplement this song with an R&B feel.

"Living Together": The Chicago horns once again come through in top-notch fashion as they open this song. Barry's falsetto doesn't lose any momentum - however this time Robin comes through with some spot-on vocals.

"I'm Satisfied": Not the strongest track, but not a bad one. More of Barry's falsetto and more Chicago horns. Once again the use of the flute is employed.

"Until": No horns on this song as basically Barry's voice is showcased (with some falsetto at the end). His voice compliments some very nice harp-like sounds.

This is the remastered album. The liner notes did not include any lyrics, but they did include the musician credits. Overall, this collection showcases how the Bee Gees go "beyond Disco" with the orchestral sound and using Barry Gibb's falsetto perfectly. Highly recommended.

This is the band's most successful album of their "disco" era, and with good reason. Behind the oft-mocked falsetto singing is some of the most competent songwriting and musicianship of the entire 70's period. If there ever really was a "Bee Gees sound," this is the album that defined it.

If there's one real criticism, it's that you only get a rest from the falsettoes twice, and a brief one at that. Furthermore, "Living Together" should convince even the most ardent Robin Gibb fan that he should never be allowed to do the falsetto voice ever again, especially without Barry behind it.

But that is a minor problem with what is otherwise a prime example of the Bee Gees at the top of their game.

I am a huge Bee Gees fan but, this cd didn't have all of the songs that the album has that opens from a tri-fold. The album which opens with a picture of each Bee Gee seemed to have a whole lot more songs. I can't believe that I am giving them 4 stars. If it were identical to the album I would have given them 5 stars.

This album in my opinion is not Saturday Night Fever Part 2 . The Gibbs proved their abilities for outstanding production, without emphasis on the 4/4 beat (which makes out the Disco dance floor fillers).

Looking from a Music Industry standards perspective for "how to make a top-selling album" today: "Spirits" would probably fail the approval from the A&R, many of the reasons already described by other reviewers. It lacks the simplicity of nowadays productions for the mass market.

But this Album brought the Gibb Brothers respect by the other artists and musicians around the world. Consequently they have received many requests to produce world stars like Barbra Streisand, Dionne Warwick, Diana Ross, Kenny Rogers and others...Being a musician myself, I can't help but bow in front of this masterpiece.

The creativity here lies within the layers of instrumentation and the finesse of the vocal arrangements. This is how close you can get with combination of different music styles, rhythms, jazz chords and sumptuous orchestration without losing the Pop Audience. For example

Stop (Think Again): is 6/8 bars bluesy Jazz with soul overtones. I wouldn't mind if this was 15 minutes long and had an even more extended instrumental soli, but then again: I love Jazz. Just watch for the part where Barry's vocals (sounding like a screaming saxophone) are taken over by the saxophone player itself. phenomenal! And the drummer's extensive breaks at the end! You won't find these musical gimmicks on a nowadays Pop Album.

Living Together: did you ever tried to count 1,2,3,4 on this tune without losing the timing of the song? ;-) There's a slight turn of the rhythm every now and then. I think the Gibbs had fun writing a song which would give Travolta a hard time on the dance floor.

Until: Never heard such impressive End of Album ever since. Very soulful. Barry could compete with any jazz trumpet, hitting the notes at the end of the song even higher than most trumpet players can. ;-) This explains the protracting of the words singing style.

As for the falsetto overdose on the Album, this is what makes the whole album so distinctive in its style. Can't think of another album on the planet that had such almost aggressive high falsettos arranged in multiple vocal layers. But I have to admit, you have to love it or hate it, this is what probably makes it difficult for new Bee Gees Fans to appreciate the music itself or even prevents to make the songs to be timeless Bee Gees classics. The complex arrangements and extremely high harmonies are some of the reasons why the Gibbs avoided to perform the songs live in concert even though they had 3 Number ones here.

Nevertheless, as an other reviewer said, this is their and their Band's best studio production/performance ever! And for all those who disagree, I can only quote: Stop, Think again...Search (within the music) and (you'll) Find ! ;-)