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In the late 1980s, most people had probably not fully appreciated how the Bee Gees had shaped popular music of the first part of that decade. Not only in terms of the prevailing influence of their earlier works, but also in their 'behind he scenes' work from that period. So, it was a great surprise to many when the Bee Gees returned in 1987 with a new album (ESP) and a brand new single, 'You Win Again'. It was as if they had never been away. 'You Win Again' shot to the top of the UK charts and again the Bee Gees were everywhere. The album proved that musically they had moved on, and that they were still capable of exploring new ground.

Their follow-up album, the critically-adored One, was less successful. But, as it turned out, this would only be a blip in their commercial success, and the title single was a big US hit. But the brothers had more on their minds at the end of the 1980s. Their return to massive commercial success as recording artists was marred somewhat by the death of their younger brother, Andy, in 1988, at the age of 30. Whilst he had never been a member of the Bee Gees, he had also been blessed with musical talent and had a string of successful singles and albums in the late 1970s, many of which were written and produced by his brothers, most notable Barry.

But as the decade turned, the Bee Gees continued this gradual rise to bigger commercial success and critical acceptance. Their 1991 album High Civilization was a masterpiece of contemporary song writing and production, but it was their 1993 album, Size Isn't Everything, that for many marked the pinnacle of their career. This album showcased the brothers' talents to write intelligent, appealing songs, whilst at the same time challenging the listener. The single For Whom the Bell Tolls, a massive hit, showed that they could also still write powerful ballads that could scale the charts. When they appeared on BBC Television's Top of the Pops live from Miami in the summer of 1993, singing another hit from this album, Paying the Price of Love, the Bee Gees were at the height of their powers. For me, at that single moment in time, the Bee Gees ruled the musical world.

In fact, they didn't rule the musical world at all. For many in Europe, witnessing the string of hit singles in the late 1980s/early 1990s, it might have come as something of a surprise to find that their success in this period inexplicably excluded the USA. Thankfully, this was rectified by their next album, Still Waters, which was a major worldwide hit, and the single, Alone, succeeded almost everywhere. It was in 1997, as Still Waters caused more than just a ripple of acclaim, that the Bee Gees were finally recognised, not just for their successes of the 1990s, but for their entire careers. It was in the late 1990s that they won the aforementioned Brit Award. They were also inducted into the Rock & Roll Hall of Fame and received Lifetime Achievement Awards from The American Music Awards, German Bambi Awards, Australian Record Industry, and World Music Awards. It was also in this period when young artists began to record songs written by the Bee Gees, with the music charts rarely being without at least one Gibb song.

In 1998, they followed up this success with their first tour in seven years, One Night Only. The One Night Only album became one of the most successful live albums of all time. Their next studio album in 2001, This is Where I Came In, continued this success, as did The Record: Their Greatest Hits, which included some new recordings of songs they had written for other artists. With four Top Ten albums in a row, and artists such as Destiny's Child, Wyclef Jean and Boyzone cording their material, it seemed that the Bee Gees were on top of the world and here to stay. They had survived a roller coaster career, been in and out of fashion, but their song writing and other multifarious musical talents had ensured that they endured and remained major recording artists.

Then, the unthinkable happened. As the brothers were planning their next album, Maurice Gibb was rushed to hospital in Miami with stomach pains. Following emergency intestinal surgery, he died on 12 January, aged only 53. The music industry went into shock, as one of its most important talents had lost his life. The fact that sales of Bee Gees albums went through the roof in this period is evidence enough that people turned to Maurice's music as a way of dealing with this unexpected loss.

Sadly, at the time of writing, it seems that Maurice's death has meant the end of the Bee Gees, with Robin and Barry understandably not wishing to continue without their brother. Clearly, Maurice's talent could never be replaced, but many fans hope that one day, Barry and Robin will record together again as the Bee Gees in his memory. After all, what has always marked the Bee Gees out from most other bands has been the fact that three brothers were all equally talented. The Bee Gees never relied on any one talent to succeed, like so many other groups. They can therefore succeed again.

However, the Bee Gees legacy still continues, as Robin and Barry both work on new projects. Robin has released another solo album, Magnet, followed up by a successful world tour. Barry has been in the studio recording new material, including writing a producing another album for Barbra Streisand. The interesting thing is that nobody is writing the Bee Gees off now.

The Bee Gees' career is a difficult one to catalogue, as it is so complex with many different facets. This site aims to do just that, and provide those who have enjoyed - and continue to enjoy - the music of Barry, Robin and Maurice Gibb with an easy-to-use guide to their various projects, backed up by reviews and advice. We hope that this website will become an invaluable tool as Barry and Robin Gibb move forward to new projects in the future. Why not start by browsing the Bee Gees albums.

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