Odessa

| Bee Gees

Cabbagescale

85.7%
  • Reviews Counted:7

Listeners Score

0%liked it
  • Listeners Ratings: 0

Odessa

Odessa is the sixth studio album by the Bee Gees, originally released on 30 March 1969. Regarded as the most significant of the group’s Sixties albums, it was released as a double vinyl record, initially in an opulent red flocked cover with gold lettering. An ambitious project, originally intended as a concept album on the loss of a fictional ship in 1899, it created tension and disagreements in the band regarding the album’s direction; finally, a dispute over which song to release as a single led to Robin Gibb temporarily leaving the group. The album was not well received by the public or the music press on release, and led to a decline in the group’s fortunes until their disco period in the mid 1970s.
 
Released in March 1969 by Polydor Records in the UK and Atco Records in the US, it was the group’s fourth album released internationally, their sixth overall, and their only double album of original music. Odessa would be the final album for the band’s original incarnation, and this was the last album to include guitarist Vince Melouney. The album contains “First of May”, “Lamplight”, “Marley Purt Drive” and “Melody Fair”.
 
The album was reissued as a single-disc in 1976 when interest was revived in the Bee Gees career, since then the album has gained increasing critical acclaim; it was reissued again in 2009 as a deluxe 3 disc set, and is included in 1001 Albums You Must Hear Before You Die.-Wikipedia

Critic Reviews

Show All
  • Pitchfork

    Odessa is a feast that's hard to fault for ambition but too rich and occasionally too stodgy to take in one sitting.  

    See full Review

  • Rolling Stone

    The string-laden instrumentals and soulful baroque pop evoke the splendor of the Moody Blues. And a third disc with demos suggests the unpolished sprawl of the Beatles’ White Album. Stripped of window dressing, baubles like “Melody Fair” prove the Gibbs’ effusive melodies and aching harmonies are ends in themselves.  

    See full Review

  • Ultimate Classic Rock

    Despite any concrete 'concept,' it does play out like a unified work, and one that is stocked full of beautiful songs with incredible production. The album covers a lot of ground in its 17 tracks, and except for a couple slight missteps, has actually aged very well.  

    See full Review

  • All Music

    Odessa is one of perhaps three double albums of the entire decade (the others being Blonde on Blonde and The Beatles) that don't seem stretched, and it also served as the group's most densely orchestrated album. The myriad sounds and textures made Odessa the most complex and challenging album in the group's history, and if one accepts the notion of the Bee Gees as successors to the Beatles, then Odessa was arguably their Sgt. Pepper's.  

    See full Review

  • BBC

    While there's some good writing on it, it's also true that this is spread perilously thinly. Falling somewhat short of the hyperbole that heralds any present-day discussion of the record, like nearly every double album ever released, there's probably a great single album lurking between the filler. 

    See full Review

  • Tiny Mixtapes

    Although their previous records shared a melancholic undercurrent, there are moments in Odessa that are downright devastating, forever raising the bar for sad music. Odessa plays without any filler. Even the purely orchestral pieces, though slightly superfluous, lend themselves to an overall tone without sounding completely misguided. 

    See full Review

  • Pop Matters

    One notices how surprisingly stripped-down Odessa actually feels, despite boasting such luxuriant overtones. Often, drums, bass, and guitar form the only pieces of instrumentation, not including the orchestra or an occasional woodwind, and so it's to the Bee Gees' credit they construct something so grandiose while maintaining distinct instrument separation in the mix  

    See full Review

Rate This Album and Leave Your Comments