Released in 1973, Life In A Tin Can is one of the Bee Gees’ most overlooked releases. From the moment disco fever took over, following the release of Main Course in 1975, most everything prior to that release was ignored by the broader music-loving public. While no one would ever wish that the Bee Gees hadn’t changed their approach, their earlier releases, with their original styling, are amongst some of the greatest recordings in all of music history. Granted, one really can’t take Life In A Tin Can seriously with its downright dorky album artwork, but it’s one of the Bee Gees’ greatest releases in their pre-disco era.
Life In A Tin Can is, ultimately, intriguing for as much as it builds upon the band’s origins, it incorporates more country and soft rock elements as the Gibb brothers embraced a more Americana style for this particular release. While some may lament that aspect, the shift in styling works remarkably well and in many respects, just as Mr. Natural can be seen as a further precursor to the band’s shifting sonic styling, Life In A Tin Can was vital to the evolution of the Bee Gees. Yes, we all want our favourite artists to keep pumping out the same music that first drew us to them, but when you have the creative genius of the brothers Gibb, to expect them to restrict themselves to a single style is incredibly short-sighted.
Sonically, Life In A Tin Can is masterfully recorded with no glaring issues to mention. Similarly, the Lossless edition, via Apple Music, offers a thoroughly pleasing reproduction that will satisfy most music listeners. That, however, can be said for much of the Bee Gees back catalogue (aside from Spirits Having Flown) that is available on Apple Music, for despite not being presented as an Apple Digital Master, you’d swear the available CD-quality stream is utterly perfect.
Saw A New Morning is a lovely album opener with a beginning instrumental presentation that ensures this is one of the album’s highlights. This soft rock number, underscored by acoustic guitars, warm harmonies, and a touch of country-rock is thoroughly pleasing to the senses and while it isn’t likely that you’ll find yourself singing along, you’ll undoubtedly find yourself captivated by the orchestral arrangement and the Gibbs incredible vocal presentation.
For uber fans, there’s also a touch of musicality, from this song, that would make its way to the hidden gem, Edge Of The Universe from their 1975 release, Main Course.
I Don't Wanna Be The One flows seamlessly from Saw A New Morning and despite being considerably different, given it’s a melancholic ballad, the shift is so masterfully done that your senses won’t skip a beat and you’ll only notice a difference should you be paying attention to the tracking of the album. While I may have mentioned that Edge Of The Universe is a hidden gem, and it most certainly is, I Don’t Wanna Be The One is another of those Bee Gees deep cuts that seldom get the attention or respect they deserve. Yes, the subdued arrangement may not appeal to all fans, but it’s also fair to say that I Don’t Wanna Be The One is amongst the greatest vocal recordings the Bee Gees ever made.
South Dakota Morning embraces a country-western styling, complete with a lap steel guitar that helps to create that rustic element that would remind anyone of the melodic tunes from the Eagles or Willie Nelson. While short, in duration, South Dakota Morning is a beautiful song that is not only worthy of the Bee Gees but is amongst the greatest recordings of the era. Seriously, if you know a Bee Gees fan, one that hasn’t ventured beyond their hits, send them a link to this song for its cinematic quality will quickly grab their attention and they’ll likely fall in love with the Bee Gees all over again.
Living In Chicago is simply stunning. From the delicate opening to the subdued orchestrations and harmonies that underlie the entire song, Living In Chicago is another hidden masterpiece in the Bee Gee’s celebrated back catalogue.
While I Play picks up the pace and leans further into the Americana and country music styling. It isn’t a bad song, far from it, and the musical bridge is notable, but it isn’t the strongest song on the album despite its toe-tapping influence.
My Life Has Been A Song is a lovely tune with Barry’s vocals being delivered beautifully with just the right amount of calm and vibrato, but it’s the chorus that takes My Life Has Been A Song to another level entirely for it’s got that earworm quality about it.
Come Home Johnny Bridie is a solid country-folk number. It’s neither a standout, nor a notable album-only tune, but despite having a touch of what could be considered Beatlesque styling, had the Fab Four recorded a country album, Come Home Johnny Bridie is an ideal filler track and sometimes that is all that’s needed for an album to be considered a top tier release.
Method To My Madness closes the album out beautifully. The vocal presentation is extraordinarily pleasing and while the vibrato in the vocal will impress, the slight variation in the musical bed adds to the song’s overall appeal. The result is that Method To My Madness is an idealistic closer that will encourage you to play the record again, for Life In A Tin Can can seldom be listened to once.
Life In A Tin Can may not have enjoyed commercial success, but that’s seldom a measure of quality. Instead, Life In A Tin Can is quietly ambitious and upon retrospection stands as one of the Bee Gees’ most creative works. Yes, the shift in direction, from baroque pop and orchestral ballads to a more American-influenced country and soft rock presentation would have varied public opinion, but the experimental shift works incredibly well as the subdued nature of the album is hauntingly beautiful, so much so that Life In A Tin Can can be considered a Bee Gees masterpiece.