Bee Gee Robin Gibb dies at 62

One of the men who brought disco to the mainstream.

Robin Gibb – one third of the seminal disco outfit the Bee Gees – has died of cancer at age 62.

Formed with his late twin brother Maurice and elder brother Barry, the Bee Gees garnered a place in musical history with their distinctive falsetto harmonies and disco classics like “Staying Alive”, “How Deep is Your Love” and “Emotion”. The group has sold upwards of 200 million records, penned hit tracks for artist like Diana Ross, Barbra Streisand, Yvonne Elliman, and Olivia Newton-John, and seen thousands of others recording version of their music throughout the past four decades. Their soundtrack for the 1977 film Saturday Night Fever defined a moment in musical history and is often credited with turning disco into a global phenomenon.

Today the music industry pays tribute to the man broadcaster Paul Gambaccini called "talented beyond even his own understanding". He went on: "Everyone should be aware that the Bee Gees are second only to Lennon and McCartney as the most successful songwriting unit in British popular music."

A life in music:

22 December 1949 – Born on the Isle of Man to a band leader father and former-singer mother who encourage their sons to perform.

1958 – Robin and his family move to Australia, where he and his brothers adopt the stage-name the Bee Gees (an abbreviation of Brothers Gibb).

1963 – The Bee Gees are signed to Festival Records Australian subsidiary Leedon Records.

1967  – The Bee Gees introduced to the Beatles' manager Brian Epstein and are soon signed with Polydor Records. Robert Stigwood calls them “The Most Significant Band of 1967”.

1969 – Robin quits the group amidst difficulties with his brother Barry.

1970 – Robin rejoins the group and The Bee Gees enjoy US success with "Lonely Days" and "How Can You Mend a Broken Heart" (later covered by Al Green).

1977 – A turning point in the band’s career: the Bee Gees compose and perform the soundtrack for Saturday Night Fever, bringing “disco craze” to the mainstream and skyrocketing the band to international success. Tracks such as “Staying Alive”, “How Deep is Your Love” and “Night Fever” reach Number 1 in countries worldwide.

1983 – Robin releases a solo album, several more to follow throughout the decades.

1997 – The Bee Gees receive the Brit Award for Outstanding Contribution to Music.

2000 – The Bee Gees receive a Lifetime Achievement Award at the Grammys.

2009 – Robin tops the charts again with the Comic Relief version of "Islands in the Stream", a collaboration with Ruth Jones, Rob Brydon and Tom Jones.


(How Deep is Your Love, 1977)


(Staying Alive, 1977)


(John Travolta dances to "More Than a Woman" in Saturday Night Fever)


Robin Gibb (centre) with his brothers and bandmates Barry and Maurice in 1970. (Photo: Getty Images)

Charlotte Simmonds is a writer and blogger living in London. She was formerly an editorial assistant at the New Statesman. You can follow her on Twitter @thesmallgalleon.

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Gael blown: how cultural appropriation went hand-in-hand with the Highland clearances

Madeleine Bunting’s account of her travels in the Hebrides reveals an often-overlooked history.

In the opening pages of this excellent book, Madeleine Bunting tries to provide a justification and rationale both for her Hebridean journey and then her wish to write about the most complex of Britain’s archipelagos. As she points out, the Hebrides comprise no fewer than 270 islands and islets, 51 of which are permanently inhabited, and the Hebridean coastline, at 2,500 kilometres, is almost three-quarters that of England’s.

It transpires that Bunting’s connection to the nation’s north-western extremities really began when her parents went for holidays to a fragment of what she rather archly refers to as the Gàidhealtachd, the cultural territory of Scotland’s Gaelic-speaking, predominantly croft-working population.

Yet the Buntings’ “Promised Land”, as she calls their summer retreat, was nowhere near the Hebrides. It was in a hamlet called Amat at the heart of the salmon-rich Strathcarron, in Sutherland, near Scotland’s north-eastern coast. These visits were intermittent and happened only in her childhood, since when the author, Yorkshire born and bred, has migrated to London and become a committed metropolitan as well as a senior journalist with the Guardian. What right, one wonders, does she have to des­cribe her travels along Scotland’s Atlantic shoreline as in any way a “search for home”?

The answer is time and commitment. It has taken Bunting eight years to write this book and she made one excursion after the other in order to assemble her thoughts of these beautiful, storm-battered islands. That depth of engagement gives authen­ticity to the writing and substance to her arguments. In truth, she never really claims the Outer Isles as her own but she does ­inquire deeply into the Hebridean people’s own passionate devotion to place. She also illuminates how these islands, but more especially Celtic culture and identity, were instrumental in shaping all of Britain’s, and especially England’s, sense of self.

A critical moment for this came in 1765 with the publication by James Macpherson of The Works of Ossian. These were translations of Gaelic poetry and folk tales that went down a storm in literary Europe and alerted many to the overlooked oral culture of northern Scotland. The Works of Ossian are not without controversy – Samuel Johnson infamously dismissed them as fake and sneered at Gaelic as the “rude speech of a barbarous people” – but the book had a huge impact on Romanticism.

Imbued with Rousseau’s notions of the noble savage and antipathetic to the effects of industrialisation, writers such as Keats and artists such as Turner were suddenly alive to the savage beauties and the more authentic life-ways of the Scottish west coast. Bunting shows that behind this Romantic engagement with Hebridean life was a kind of cultural imperialism that developed through a series of opposites. If Celts were depicted as imaginative, idealistic and wild, then, almost by definition, the Anglos were utilitarian, pragmatic and civilised. If the Gael was backward-looking and melancholic, the Saxon must be optimistic and forward-thinking. Above all, the English were utterly dominant.

The author demonstrates how such cultural appropriation was intimately connected to territorial dispossession. Bunting takes us on a brief tour of the Clearances; the retelling still has the power to enrage, and she shows how the treatment of Hebridean crofters was identical to British imperialism in Africa or Asia. As she puts it tellingly, this is a “history which will not go quietly into the past”. Yet she also demonstrates that it was not Hanoverian England alone which suppressed the Gàidhealtachd. Much of the dirtiest work was done by former clan chiefs who had simply reinvented themselves as London-based grandees.

Bunting further points out that this colonial exploitation has hardly ceased. The recent plans to build a vast windfarm on Lewis, involving 234 turbines with sails the size of jumbo jets, and the 1990s quarry scheme to dismantle whole mountains on Harris to build English roads, are further demonstrations of how the centre plunders resources from its Atlantic periphery.

If I have a small disappointment in Love of Country, it is that Bunting makes too little of the Hebridean natural environment, which involves the most harmonious transaction between human beings and wildlife now found anywhere in Britain. The shell-based coastal lawns known as machair are among Europe’s richest habitats, still smothered in orchids and resounding to the sounds of lapwing display and curlew song.

At times one feels that Bunting thinks much harder than she looks. Occasionally she betrays her metropolitan roots. She describes rivers as being “the colour of manuka honey”, and of a chorus of birds like nothing she had heard before, she writes that “the air vibrated . . . setting all my senses alert”. The prose, however, is always most elevated when she engages the formidable clarity of her intellect. It is the almost perfect marriage of physical travelogue to the inner landscape of political ideas and cultural reflections that makes this such a super read. I cannot think of a more intellectually challenging or rewarding travel book in recent years, except perhaps Jay Griffiths’s Wild.

Love of Country is in every way a richer, more mature work than Bunting’s award-winning 2009 memoir, The Plot. I expect it to bring her prizes and fame.

Mark Cocker’s books include “Claxton: Field Notes from a Small Planet” (Vintage)

Love of Country: a Hebridean Journey by Madeleine Bunting is published by Granta Books (368pp, £18.99)

This article first appeared in the 20 October 2016 issue of the New Statesman, Brothers in blood