Throughout the first half of the 1980s, as the Bee Gees took a break from their band moniker and looked towards writing and producing for other artists, and Barry and Robin explored the next stages of their solo careers, Maurice was all the while tinkering away in the background, writing music intended for the background. This episode explores the soundtrack works (and various leftover compositions) composed by Maurice. This covers 'Living Eyes' era instrumentals, a Marti Webb showtune, a solo single and various film scores, the primary example being the music for 1984's 'A Breed Apart'. Stuart and Cristiano work their way through this eclectic collection of music, shining a light on Maurice's deft synthesiser skills and craft for arranging evocative soundscapes.

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In 1985, Maurice and Robin began working with Carola on an album that would materialise in May 1986, titled 'Runaway'. Released in Sweden, the album has since become a lost part of the Gibb discography, often overlooked or forgotten amidst the surrounding Gibb collaborations of the era with established artists such as Kenny Rogers and Diana Ross. But unlike 'Eaten Alive' or 'Eyes That See In The Dark', it was the twins who took the reigns on this project, and as Stuart and Cristiano discuss, the result is an incredibly poppy and synthetic album, carrying forwards many of the styles from Robin's three 1980s solo albums.

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'Walls Have Eyes' is Robin Gibb's fourth studio album, and the third in as many years in the 1980s. Coming so soon after 'Secret Agent', this album does feel like a natural successor to Robin's 1983 and 1984 solo efforts, but with a smooth, clean and refined production. The greater input from Barry with the songwriting and contributions, in comparison to Robin's previous albums, gives this album a strong "Bee Gees" feel, and as Stuart and Cristiano discuss, it could just be the missing album link for the Bee Gees between 'Living Eyes' and 'E.S.P.'

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In 1985, Diana Ross released her sixteenth solo album, 'Eaten Alive'. The next instalment in the run of albums that the Gibbs wrote and produced for their chosen artists, 'Eaten Alive' allowed the Bee Gees the opportunity to pay homage to Motown, delve into mid-80s dance, and produce a set of ballad standards, all fit for Diana Ross. Stuart and Cristiano explore the album and and its development with the available demos, and reflect on its reputation forty years later.

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From learning lessons in love to escaping the ominous 'hunter', side two of Barry Gibb's 'Now Voyager' proves to be as eclectic as side one, whilst retaining the heart of Bee Gees music, with timeless Gibb love ballads such as 'Stay Alone' and 'One Night (For Lovers)'. Stuart and Cristiano conclude their thoughts on this album and of the film, and share listener thoughts and critical reviews.

Vocal split extracts created through LALAL.AI: Vocal Remover & Instrumental AI Splitter | LALAL.AI

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In 1984, Barry Gibb released his first studio album, 'Now Voyager'. This was accompanied by a film consisting of music videos from the album tracks, all strung together by an abstract and dream-induced narrative. Failing to make a large commercial impact, and possibly curtailing the multi-album deal which Barry had signed, the album and film have become a curio of the time, often overlooked or disregarded like so many Gibb projects of the period. Stuart and Cristiano discuss the story behind the project and its ambitious origins, as well as the songs on side one, and the film and its storyline. It's a mystery that is the universe, ten times the speed of sound. It's Now Voyager.

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Stuart and Cristiano lower their spy glasses, switch on X-ray vision and accept their mission of reviewing Robin's 1984 album, 'Secret Agent'. Despite the album brimming with the trademark Robin & Maurice catchy choruses, earworm hooks, and plenty of ooohs and aaahs, this is a divisive album that is often overlooked and dismissed amongst the wider Gibb discography. It's time to go b-b-b-back to this quirky synthpop album and find out how it holds up over forty years after its release.

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Stuart and Cristiano follow the evening star and arrive at side two of 'Eyes That See In The Dark'. With the quality demos, plus a leftover song, the Bee Gees once again prove that the albums given away to other artists were as strong (and where these demos are concerned for Stuart and Cristiano, arguably stronger) than the contemporary material released under their own name. 

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The next artist in the 1980s to receive an album overseen by the Gibbs was Kenny Rogers, with his 1983 album 'Eyes That See In The Dark'. Stuart and Cristiano return to this buried treasure as they discuss side one of the album. As expected from a collaboration with Rogers, country influences are abound, with appearances from Dolly Parton and the Gatlin Brothers. And with Barry and Maurice taking on a majority of the song writing, there is a return to the style of the early 1970s, with the simplicity and refined quality of the compositions, all of which is proven by the astounding set of demos on which this album was founded.

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Roger Ebert stated that "sequels are almost always pale imitations" of their predecessors, and this could be argued for 'Staying Alive', the 1983 follow-up to 1977's cultural phenomenon 'Saturday Night Fever'. The Bee Gees returned to contribute five original pieces for the soundtrack, and whilst these compositions may not be as recognised or revered as the Gibb's contributions to the 1977 film, Stuart and Cristiano find a lot to admire and appreciate in this material. 

Vocal split extracts created through LALAL.AI: Vocal Remover & Instrumental AI Splitter | LALAL.AI

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