Tim Roxborogh returns to the podcast for a discussion of all things 'E.S.P.', running through the tracks on the album and its legacy.

Follow Tim's work here: The Roxborogh Report - Travel & Music. By New Zealand broadcaster & writer Tim Roxborogh.

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Stuart and Cristiano flip over 'E.S.P.' and discuss the second side of the album, which proves to be an eclectic handful of songs, going from the career-spanning more-rap-less-crap 'This Is Your Life' to the Motown pastiche 'Crazy For Your Love', and all the way to the funky grooves of 'Backtafunk'.

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In 1987, six years since their last studio album, the brothers returned. Reuniting with Arif Mardin, and equipped with all of the contemporary production effects and studio technology, the resulting album, 'E.S.P.', was a fresh-sounding embarkation into the next chapter in the tale of the Brothers Gibb. Heralded by the chart-topping single 'You Win Again', the Bee Gees were back in the spotlight... at least in most territories outside of North America. Stuart and Cristiano discuss the story of how this album came to be, detailing the brothers' new record deal with Warner, and examine the five songs which comprise side one of 'E.S.P.'

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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.

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