Bee Gees 'Alone'

Chart Peak: 5

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It is 30 years this year since the Gibb brothers first charted with 'New York Minig Disaster 1941'... The trio's songwriting abilities and unique harmonies are again in evidence on their latest Top 5 smash 'Alone'

And if you thought Texas had been around for a long time in 1997, this is in another league. As I said earlier this year, they recovered from a quiet 1980s (at least as performers) with a series of hit singles in the 1990s, few of which are remembered now. Even as long ago as that you wouldn't have thought that the older demographic this sort of thing appealed to would still have been buying singles, but evidently their fans were loyal.

As a record it's as predictable as you'd expect, Gibb-by-numbers with even the gimmick of playing the intro on (synthesised?) bagpipes not attracting much attention. There's a level of craftmanship there that you might admire but the finished product is no more than competent.

Also appearing on: Now 29
Available on: The Ultimate Bee Gees

Bee Gees 'For Whom The Bell Tolls'

Chart Peak: 4

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The legendary trio of Barry, Robin & Maurice Gibb have recently passed the astonishing landmark of 100 million worldwide sales... 'For Whom The Bell Tolls' which made No. 4 at the end of 1993 was their biggest UK hit for 6 years

A gradual climber of the sort that was starting to become more unusual by 1994, and as the notes explain that peak was their highest since 'You Win Again' topped the chart in 1987. They haven't beaten it since as performers, although they were ultimately more successful in the Nineties than the Eighties.

Of course this was another single that took advantage of traditional low sales at the turn of the year (in the UK at least, it was a major hit in other territories where I don't know whether the same factors apply) and as a record it's fairly typical of what they were doing in this era - a slowie with Barry Gib singing the verses in an uncomfortably high pitch and Robin Gibb coming in for the chorus. Maurice Gibb's contribution is less instantly apparent but he is credited as a co-writer and -producer. Obviously, this was a band who knew exactly what they were doing and could still shift units at an impressive rate without even seeming to rely on an obvious fanbase effect, but I can't claim it interests me in the slightest.

Also appearing on: Now 36
Available on: Love Songs