Spirits Having Flown
The Bee Gees
Released: January 1979
Chart Peak: #1
Weeks Charted: 55
Certified Platinum: 1/30/79
"The record the world's been waiting for," reads an ad for Spirits Having Flown, and that's not just hype, since the Bee Gees' new album represents a deliberate attempt to fashion a "global" pop. Instead of extending the airy pop-disco of Saturday Night Fever, the Brothers Gibb have consolidated several styles, only one of which is disco, to make slower, more elaborate music. Miami Blue-Eyed Soul Meets Europop in Ecumenical Heaven might be an apt subtitle. Though impressively produced, Spirits Having Flown isn't nearly as powerful as the crux of Saturday Night Fever, and its failures suggest that the group's brilliant fusion of adolescent love songs and disco for the 1977 soundtrack LP was at least partly accidental.
From the beginning, the Bee Gees' mating of pop and R&B was shaky. True, the key cuts on the transitional Main Course, for which producer Arif Mardin taught the trio the rhythmic basics, were landmarks. But the following disc, Children of the World, on which the Gibbs and coproducers Albhy Galuten and Karl Richardson toughened up the style, was less satisfying. There, the effort seemed forced, and the combination of harder rhythms and a much grainier sound created an abrasively shrill and somewhat cheesy blue-eyed soul that redeemed itself only once, in the poppers-in-the-fun-house smash, "You Should Be Dancing." Coming after this letdown album, the gorgeous and surprising Saturday Night Fever songs (from the same production team) elegantly underlined both the strength and delicacy of the special chemistry. These made-to-order movie tunes had such a magical flow and simplicity that, in one stroke, a universal dance music was born. Not since the heyday of Glenn Miller, forty years earlier, had the dreamy and aggressive impulses of pop meshed so seamlessly to stamp an era.
This album's weaknesses are synonymous with the Gibb's pseudodeific, megastar self-conception. Most of the songs are sung with perfect pitch, but the trio's piercing collective falsetto (built around Barry's lead vocals) is so relentless that the few moments in which the voices drop to their natural register come as a relief. The Four Seasons, alas, and not Smokey Robinson are the prototype for such an unearthly style: shrill, stiff, mechanical yowls that generate tension yet aren't expressive enough to carry an entire LP. This metallic shriek was made appealing on Main Course and Saturday Night Fever because it was softened and distanced into a floating, plaintive cry that found a workable counterbalance in a springy, clearly articulated electric bass. John Travolta's moving portrayal of young Tony Manero and his struggle for recognition in the film also lent poignant meaning to the falsetto, which became an aural metaphor for the anxious human spirit: an attestation of innocence, a cry for help, a sob of nostalgia.
Aside from the album's melodic consistency (nine out of ten tunes have substantial hooks), its major success is in the area of production: the Bee Gees, Galuten and Richardson offer a sugary, futuristic melange of Abba-styled Europop, past-Motown R&B and Miami disco, with greater emphasis on horns and synthesizer. A duet between falsetto voices and a sputtering saxophone over a brass choir in "Stop (Think Again)" demonstrates a particularly haunting use of horns. Throughout Spirits Having Flown, the synthesizer is integrated with far more assurance than before, so that the strongest songs outstrip Abba in sophistication while maintaining the requisite Europop tone of brittle, ultraccessible cordiality. The title track is the producers' piéce de résistance. A mystical ballad that swells like the sea over a synthesized roar as quasi-western movie theme is reiterated by a steel band, "Spirits (Having Flown)" carries international sci-fi/religioso pop to a decorative peak of opulence.
Along with Donna Summer and Abba, the Brothers Gibb are defining the emergent mainstream of space-age pop. The musical equivalent of such Hollywood screen extravaganzas as Star Wars and Superman, this international style giddily exalts a blind faith in technology, flaunting the artificiality while exhorting our wildest childhood fantasies of escape into toyland. The Bee Gees' mythos -- they always wanted to be bigger than the Beatles, whom they originally cloned, and now they are, commercially speaking -- lends their music a messianic ring, albeit a somewhat muted one. We're not only encouraged to play with (or to try to become) futuristic toys, but to accept the Gibbs as heavenly castrati -- Johnny Mathis robot voices come to soothe our hypereroticized climate with musical candy. Yet the falsettos cut two ways: even as they keen like rockers in the chill of space, their squall brings out the crybaby in all of us.
As millennial fever looms, the Bee Gees shrewdly answer our contradictory urges to rush forward ant to retreat. Their soundtrack for Sgt. Pepper's Lonely Hearts Club Band represented one last pitiful attempt to get back and become the Beatles. On the UNICEF TV special, they finally got away with posing as the Fab Four's spiritual heirs. But the global consciousness that the Gibbs conjure is far different from that of the Beatles, who embodied a non-bureaucratic world community of hippie individualists. The Bee Gees' global village would be a junior high of androgynous, conformist goody-goodies: a world with no violence or sex, only puppy love, and every toy in creation. That's why Spirits Having Flown is a Sunday-school heaven of eternal childhood, stringently regulated by "angels."
- Stephen Holden, Rolling Stone, 4/5/79.
With the unparalleled success of Saturday Night Fever coupled with the successes of its live album and Children Of The World, the Bee Gees are undoubtedly the reigning champs of contemporary music in terms of sales and airplay. This collection of new studio tunes is perhaps the Gibbs' definitive LP. Charged with burning disco-flavored melodies, those finely honed falsetto vocals and superb harmonies, the Bee Gees are also assisted by some first-rate musicians like guitarist George Terry, Joe Lala on percussion, Herbie Mann on flute, Blue Weaver on piano and the Chicago horn section. The album is a mix of beautiful Bee Gee ballads and cooking upbeat tunes that translate just perfectly on dance floors. The Gibbs' No. 1 single, "Too Much Heaven," should help propel sales, along with the numerous other singles candidates. Best cuts: "Too Much Heaven," "Tragedy," "Love You Inside Out," "Spirits Having Flown."
- Billboard, 1979.
I admire the perverse riskiness of this music, which neglects disco bounce in favor of demented falsetto abstraction, less love-man than newborn-kitten. And I'm genuinely fond of many small moments of madness here, like the way the three separate multitracked voices echo the phrase "living together." But obsessive ornamentation can't transform a curiosity into inhabitable music, and there's not one song here that equals any on the first side of Saturday Night Fiver. B-
- Robert Christgau, Christgau's Record Guide, 1981.
Spirits Having Flown is the slick, calculated and vapid follow-up to the Bee Gees' "Fever" success. *
- Gary Graff, Musichound Rock: The Essential Album Guide, 1996.
Main Page | The Classic 500 | Readers' Favorites | Other Seventies Discs | Search The RockSite/The Web