In 1985, Diana Ross released her sixteenth solo album, 'Eaten Alive'. The next instalment in the run of albums that the Gibbs wrote and produced for their chosen artists, 'Eaten Alive' allowed the Bee Gees the opportunity to pay homage to Motown, delve into mid-80s dance whilst collaborating with Michael Jackson, and produce a set of ballad standards, all fit for Diana Ross. Stuart and Cristiano explore the album and and its development with the available demos, and reflect on its reputation forty years later.

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From learning lessons in love to escaping the ominous 'hunter', side two of Barry Gibb's 'Now Voyager' proves to be as eclectic as side one, whilst retaining the heart of Bee Gees music, with timeless Gibb love ballads such as 'Stay Alone' and 'One Night (For Lovers)'. Stuart and Cristiano conclude their thoughts on this album and of the film, and share listener thoughts and critical reviews.

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In 1984, Barry Gibb released his first studio album, 'Now Voyager'. This was accompanied by a film consisting of music videos from the album tracks, all strung together by an abstract and dream-induced narrative. Failing to make a large commercial impact, and possibly curtailing the multi-album deal which Barry had signed, the album and film have become a curio of the time, often overlooked or disregarded like so many Gibb projects of the period. Stuart and Cristiano discuss the story behind the project and its ambitious origins, as well as the songs on side one, and the film and its storyline. It's a mystery that is the universe, ten times the speed of sound. It's Now Voyager.

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Stuart and Cristiano lower their spy glasses, switch on X-ray vision and accept their mission of reviewing Robin's 1984 album, 'Secret Agent'. Despite the album brimming with the trademark Robin & Maurice catchy choruses, earworm hooks, and plenty of ooohs and aaahs, this is a divisive album that is often overlooked and dismissed amongst the wider Gibb discography. It's time to go b-b-b-back to this quirky synthpop album and find out how it holds up over forty years after its release.

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Stuart and Cristiano follow the evening star and arrive at side two of 'Eyes That See In The Dark'. With the quality demos, plus a leftover song, the Bee Gees once again prove that the albums given away to other artists were as strong (and where these demos are concerned for Stuart and Cristiano, arguably stronger) than the contemporary material released under their own name.

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The next artist in the 1980s to receive an album overseen by the Gibbs was Kenny Rogers, with his 1983 album 'Eyes That See In The Dark'. Stuart and Cristiano return to this buried treasure as they discuss side one of the album. As expected from a collaboration with Rogers, country influences are abound, with appearances from Dolly Parton and the Gatlin Brothers. And with Barry and Maurice taking on a majority of the song writing, there is a return to the style of the early 1970s, with the simplicity and refined quality of the compositions, all of which is proven by the astounding set of demos on which this album was founded.

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Roger Ebert stated that "sequels are almost always pale imitations" of their predecessors, and this could be argued for 'Staying Alive', the 1983 follow-up to 1977's cultural phenomenon 'Saturday Night Fever'. The Bee Gees returned to contribute five original pieces for the soundtrack, and whilst these compositions may not be as recognised or revered as the Gibb's contributions to the 1977 film, Stuart and Cristiano find a lot to admire and appreciate in this material.

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Stuart and Cristiano discuss Robin's second solo album, released in May 1983, 'How Old Are You?'. A departure from the baroque orchestrations and wartime tales which filled Robin's 1969-70 solo efforts, this album sees Robin and collaborator Maurice embracing contemporary influences, ranging from Europop to new wave synth.

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