“Children of the World,” a classic 1976 album by the iconic Bee Gees, holds a special place in music history. The album’s lead single, “You Should Be Dancing,” achieved the remarkable feat of topping the charts in both the US and Canada, while also securing a spot in the top ten in various other regions. This musical masterpiece marked the Bee Gees’ fourteenth album, and it was their twelfth album released internationally.
In a nod to its timeless appeal, the album received a re-issue on CD by Reprise Records and Rhino Records in 2006. Notably, “Children of the World” marked the debut of the formidable Gibb-Galuten-Richardson production team, which would go on to have a string of highly successful collaborations in the years to come.
Background
The creation of “Children of the World” was set against a backdrop of changing circumstances. The Bee Gees’ long-time manager, Robert Stigwood, had concluded his distribution agreement with Atlantic Records in the United States, which had a profound impact on the group’s collaboration with Atlantic’s producer, Arif Mardin, who had previously overseen the production of the Bee Gees’ previous two albums.
As Mardin was no longer able to work with the group, a new direction was sought while still retaining the signature sound that had endeared the Bee Gees to their fans. To maintain continuity, the group decided to record the album at the familiar Criteria Studios in Miami. Initially, they brought in producer Richard Perry, but their musical vision diverged after a brief collaboration of a couple of weeks. At this pivotal juncture, the Bee Gees made the bold decision to take on the production themselves. Barry Gibb assumed the lead role in this endeavor, assisted by engineer Karl Richardson.
They also welcomed the young musician and arranger, Albhy Galuten, to the control room, providing valuable musical expertise. This new collaboration laid the foundation for a series of chart-topping recordings that would captivate audiences over the next four years.
Recording
The album’s recording process unfolded between January 19 and March 30, with sessions held at Criteria Studios in Miami. During this time, the group passionately crafted tracks like “You Should Be Dancing,” “Love So Right,” “Subway,” “Love Me,” “You Stepped Into My Life,” “The Way It Was,” as well as two unreleased tracks, “Walk Before You Run,” and “The Feel.” Notably, “Lovers” featured Robin’s distinctive falsetto vocals.
The post-production work was carried out in Quebec, except for the two unreleased songs and “Walk Before You Run,” a collaborative effort between Barry Gibb and Stephen Stills. As a testament to their creative dedication, even during a recording break for “Children of the World,” Robin and Maurice Gibb temporarily returned to England to spend quality time with their families, while Barry remained in Miami, meticulously fine-tuning the new single and recording “The Way It Was.” Following this, from April 2 to May 26, the group continued to record tracks at Le Studio in Quebec.
Although “Rest Your Love on Me” (recorded on May 2) did not make it onto the album, it was later utilized as the B-side for “Too Much Heaven” in 1978.
Release
“Children of the World” graced the music scene with its release in September 1976, marking a significant moment in the Bee Gees’ discography. Four singles were released from this iconic album.
“You Should Be Dancing” made its debut in June 1976 in the UK and July 1976 in the US, quickly ascending to the top spot in the US charts. Subsequent singles, “Love So Right” (September 1976) and “Boogie Child” (January 1977), secured impressive rankings of No. 3 and No. 12 in the US, respectively. Notably, “Love Me” gained recognition when it was covered by Yvonne Elliman, and “You Stepped into My Life” found its way into the repertoire of artists like Melba Moore in 1978 and Wayne Newton in 1979.
Barry Gibb, with his remarkable foresight, believed that other tracks from the album also held the potential to become chart-topping hits, solidifying the enduring legacy of “Children of the World” in the annals of music history.