There is a reason why the Bee Gees have been around for decades, successfully making music -- they are innovative craftsmen, who have carved out and maintain a signature sound, while having the ability to adapt to the times that they find themselves composing in. The Bee Gees -- brothers Maurice, Barry, and Robin Gibb -- are profoundly creative and have a gift for writing good songs, whether they are radio friendly (usually the case) or a bit off the beaten path. The Gibbs see music as if viewed through a kaleidoscope. The result is magical, tuneful, and colorful music -- with a mainstream sensibility. That said, on their 28th studio album, This Is Where I Came In, the Bee Gees, again, inspire audiences with their ability to make music that is fresh, yet familiar, and ahead of their peers in terms of sound, song structure, and style. The album's title and opening song instantly recalls the Beatles in their later years, and combines late-'60s British rock with crafty funk guitar playing. It's no wonder, too; according to the album's accompanying press, Maurice Gibb plays an acoustic guitar given to him by John Lennon on this song. The Bee Gees offer a nod to other musicians, as well, such as the Talking Heads and the Kinks on "She Keeps on Coming," which is an entirely jubilant listen. Audiences looking for that classic light and airy Bee Gees sound will best find it on the tracks "Loose Talk Costs Lives," "Sacred Trust," and "Wedding Day," all a wonderful tribute to the types of songs that established them as pop culture icons. Edgier fare is found on the urgent "Voice in the Wilderness," with its contemporary electronica and warbled guitar sounds, and "Déjà Vu," which is rich in slick hooks and crafty sound bites. Not many musicians could pull off placing a Dixieland-style song on an album in 2001. However, this is the Bee Gees, and not only does "Technicolor Dreams" work, but it is arguably the best song on the album. With its toe-tapping, enchanting clarinet solo and charming lyrics, "Technicolor Dreams" personifies how music is seen through the eyes of a Gibb. And listeners are fortunate for this Bee Gees-eye view.
AllMusic Review by Liana Jonas