While many individuals who reach their seventh decade are content with tending their gardens, musicians such as Barry Gibb are proving that age is not a limiting factor in the creation of their art. While some commentators may be critical of musicians continuing past their prime, I welcome it with open arms. Yes, there are some exceptions and there will always be a selection of artists who should have stayed in retirement, but Barry Gibb is not one of them.
In The Now is the second solo album by Barry Gibb, although written and recorded with his sons Stephen and Ashley, I had honestly thought he had released more albums, under his own name, but his last album and solo debut was released in 1984. That album was Now Voyager.
I can’t help but wonder if my confusion, relating to his solo releases, was due to the incredible Bee Gees compilation Mythology that highlights the most notable works of each Gibb brother. With 81 songs, and a playtime exceeding 5 hours, it is one of the most extensive compilations ever released. While In The Now is uniquely independent, I also find it eerily reminiscent of the Bee Gees but I had no idea that Gibb was writing and recording again. Yet, upon a visit to my local record store in 2016, I saw the album quickly rising in the charts. As a life-long fan of the Bee Gees I, of course, had to check it out.
While the vinyl aficionado within desired picking up that release, it was three times the cost of the CD counterpart. This price variance is further exacerbated when you consider that the Deluxe Edition CD includes three extra tracks; a value-added proposition for this fan.
The Deluxe Edition CD comes in a standard jewel case and includes a full-featured liner notes booklet. However, the lyrics for the bonus tracks are omitted; a disappointing omission for those of you interested in perusing the lyrics while listening to the music. Interestingly, the liner note credits for these additional tracks are included behind the CD storage shell, rather than in the master booklet. This has most likely been done as a cost-saving measure and while it isn’t a major issue, I would like to see more effort put into releases that are considered to be Deluxe. With that in mind, a redesigned booklet, and digipak presentation, would have made this collector very happy.
Another interesting omission, in the liner notes booklet, is the lack of photographs with Gibb and his sons Stephen and Ashley. Both his sons were instrumental in the writing of the album and it seems to be a missed opportunity to celebrate their contribution. Of course, perhaps this exclusion was to avoid obvious comparisons between this work and that of the legendary Bee Gees trio.
That all said, if we consider the recording, mix, and mastering quality, In The Now is nothing short of exceptional. When comparing the CD to the lossless 24-bit/44.1 kHz ALAC Apple Music edition, both are tonally and dynamically identical to my ears. However, it is important to note that the three bonus tracks are not available to stream, thereby ensuring that the CD release is essential for any Gibb fan.
In The Now immediately shows that Gibb still has, arguably, the most identifiable vocal in the world. The composition is pop-driven and predictable, but in a good way as it allows Gibb to be at the forefront of the music. It’s a stellar song to commence the album on. I love it!
Grand Illusion is a little edgier with a rock rhythm that’s addictive. I absolutely love the beat and guitar riff in this song and while it may remind me of the Bee Gees, particularly with regards to the interweaving backing vocals, it’s fresh and compelling.
Star Crossed Lovers slows the album down a little with a ballad style but I’m not convinced that this song was a good selection for Gibb as I much prefer his faster tempo tunes. Of course, my subjective point of view doesn’t change the fact that Star Crossed Lovers is a lovely song and many people will thoroughly enjoy it.
Blowin’ A Fuse picks up the pace with an erratic intro that continues throughout the entire song. Despite the unpredictable tempo, it will get you toe-tapping and head-bopping. Although, I would have preferred to have had this song positioned before Star Crossed Lovers as it would have helped with flow. Additionally, the electric guitar solo, about two-thirds of the way through the song, is excellent and a welcome surprise after the song pretends to end prematurely as it makes you sit up and listen.
Home Truth Song is a modern country-pop styled song that works extremely well with Gibb’s vocal style. It will remind you a little of Bruce Springsteen, although, I can’t imagine anyone else singing this song.
Meaning Of The Word is beautifully mellow. Gibb’s vocals are so delicate in this song and I love the tailing off of notes as his vocal almost breaks up, but remains in key. It is simply amazing to hear such a delicate vocal delivery.
Cross To Bear is a lovely composition. I love the acoustic guitar elements, the choral delivery, and the overall twang of the song.
Shadows has a tonality that reminds me fondly of the style used throughout much of Julian Lennon’s Photograph Smile. Simply beautiful!
Amy In Colour is a song that I adore. The verse is so reserved in comparison to the increased tempo, that builds with the chorus, that it creates an interesting dichotomy.
The Long Goodbye highlights Gibb’s unique vocal style and prowess. I’m continually amazed at how he can maintain such a varied singing voice, especially when you factor in his low-pitched speaking voice. A master vocalist if there ever was one.
Diamonds is incredibly dynamic with a soundstage that is so immersive that you’ll swear you were in the studio when it was recorded. Incredible!
I do wish that the album had been re-tracked, rather than simply adding the bonus tracks to the end of the album because I believe that End Of The Rainbow is the perfect song to close this album on. End Of The Rainbow is also dedicated to Robin, Maurice, and Andy thereby making it even more symbolic. That shouldn’t take anything away from the additional tracks, as they are exceptional, but it does change the feeling of the album, especially when the first additional track, Grey Ghost, is quite a musical shift from End Of The Rainbow. Grey Ghost has an oriental influence that is lovely in its own right, although it isn’t the strongest song in Gibb’s collection and it causes the album flow to become disjointed.
Daddy’s Little Girl, by comparison, is simply gorgeous and should have been included on the standard release of the album. It features some exquisite guitar work and Gibb’s vocal will touch your soul.
Soldier’s Son is epic! The beat, the tonality of the vocal, the instrumentation, the guitar work, simply everything just fits into place perfectly. While Soldier’s Son becomes a fitting end to the Deluxe Edition, I would have, nevertheless, still preferred End Of The Rainbow to be the closing song.
Overall, it doesn’t matter which edition of In The Now you decide to listen to. Yes, the bonus tracks are worthy of inclusion but the core album is a piece of musical art that will appeal to fans of Gibb and the Bee Gees alike. While reminiscent of the Bee Gees it’s also uniquely a Barry Gibb album and should be listened to with reflection rather than comparison.