This is an enhanced audio CD which contains regular audio files and multimedia computer files.

The Bee Gees: Maurice Gibb (vocals, guitar, keyboards, programming); Barry Gibb (vocals, guitar); Robin Gibb (vocals).

Additional personnel includes: Alan Kendall, Robbie MacIntosh (guitar); Alfredo Oliva (violin); David Cole (cello); Neil Bonsanti (clarinet); Ken Faulk, Jason Carder (trumpet); Dwayne Dixon, Eric Kerley (French horn); John Knicker, Joe Barati (trombone); Ben Stivers (organ, keyboards, programming); George Perry, Matt Bonelli (bass); Steve Rucker (drums); John Merchant (programming); Peter John Vettese (background vocals).

Producers: Robin, Barry & Maurice Gibb, Peter John Vettese.

Bee Gees: Maurice Gibb, Robin Gibb, Barry Gibb.

There is a reason why the Bee Gees have been around for decades, successfully making music -- they are innovative craftsmen, who have carved out and maintain a signature sound, while having the ability to adapt to the times that they find themselves composing in. The Bee Gees -- brothers Maurice, Barry, and Robin Gibb -- are profoundly creative and have a gift for writing good songs, whether they are radio friendly (usually the case) or a bit off the beaten path. The Gibbs see music as if viewed through a kaleidoscope. The result is magical, tuneful, and colorful music -- with a mainstream sensibility. That said, on their 28th studio album, This Is Where I Came In, the Bee Gees, again, inspire audiences with their ability to make music that is fresh, yet familiar, and ahead of their peers in terms of sound, song structure, and style. The album's title and opening song instantly recalls the Beatles in their later years, and combines late-'60s British rock with crafty funk guitar playing. It's no wonder, too; according to the album's accompanying press, Maurice Gibb plays an acoustic guitar given to him by John Lennon on this song. The Bee Gees offer a nod to other musicians, as well, such as the Talking Heads and the Kinks on "She Keeps on Coming," which is an entirely jubilant listen. Audiences looking for that classic light and airy Bee Gees sound will best find it on the tracks "Loose Talk Costs Lives," "Sacred Trust," and "Wedding Day," all a wonderful tribute to the types of songs that established them as pop culture icons. Edgier fare is found on the urgent "Voice in the Wilderness," with its contemporary electronica and warbled guitar sounds, and "D‚j… Vu," which is rich in slick hooks and crafty sound bites. Not many musicians could pull off placing a Dixieland-style song on an album in 2001. However, this is the Bee Gees, and not only does "Technicolor Dreams" work, but it is arguably the best song on the album. With its toe-tapping, enchanting clarinet solo and charming lyrics, "Technicolor Dreams" personifies how music is seen through the eyes of a Gibb. And listeners are fortunate for this Bee Gees-eye view. ~ Liana Jonas

Every time the brothers Gibb make another LP, the word is that they are going to return to the brilliant, crystalline pop with which they began in 1962-1972. It does make for a tasty proposition: Masters of early-'60s Merseybeat and late-'60s psych-pop, the Aussie teen sensations returned to their native England and wrote and recorded 12 indelible rock/pop hits from 1967-1972, all with fantastic three-part harmonies, as well as seven inspired LPs. So when one notes this album's title and the cover photo of the Bee Gees as teens, it's clear what the Gibbs intend, but they come up woefully short. Probably the best LP they've given in three decades, since Trafalgar and To Whom It May Concern, but that still says so pitifully little. It's shot down by '90s/'00s overproduction and Barry Gibb's penchant for oversinging; even when he writes a whimsical little "When I'm 64"/"Honey Pie" dance-hall pop tune such as "Technicolor Dreams," he still can't stop himself from trilling with all that bogus, phony air, where once he nailed such material with his natural voice. Worse, the LP is sabotaged by limpid, edge-less, polite production, so sanitized and squishy and mushy it's like aural wallpaper. The guitars have no bang, the keyboards are facile, the drums too mechanical, the bass too relegated to the background. In short, it's so over-stylized, there's no longer any there there. This is too bad, because their old songwriting knack isn't entirely absent. There's no "World," "Lemons Never Forget," or "Please Read Me," but the highlight title track racked up some deserved adult contemporary play (and some great, vintage singing from Robin Gibb), and the verses of "She Keeps on Coming" and "Walking on Air," and the choruses and bridges of "Wedding Day" and "Man in the Middle" are fine -- showing that with less sappy production, less overdramatizing, and/or a younger, grittier backing band, these three nice men might have been justly hailed again for something more than being has-been heritage artists. They can still sing instinctive harmonies like few others, and they can still write, but this is just another bad Bee Gees record. ~ Jack Rabid

After years of high-gloss production, this album represents the Bee Gees' attempt to return to their roots; simple, harmony-based pop tunes recorded in a straightforward manner. Accordingly, many of the songs here are based around Maurice and Barry Gibb's own acoustic guitar strumming, and of course the trio's distinctive vocal blend. Nevertheless, this is hardly lo-fi stuff. Sophisticated keyboard and electric guitar textures and programmed beats are not in short supply; the roots retrenchment is more a mindset than an arrangement tactic.

While most of the tunes here seem to fall into the adult pop mode the group began mining in its post-disco phase, "She Keeps on Coming" is a rockabilly-tinged number that wouldn't have sounded out of place on a Traveling Wilburys album, "Technicolor Dreams" is a quaint, vaudevillian song that harks back to the band's quirky baroque pop days, and "The Extra Mile" recalls the Bee Gees' mid-'70s soul balladry. Stylistically, THIS IS WHERE I CAME IN is more of a look over the shoulder than a giant leap backwards.

Rolling Stone (6/7/01, p.112) - 3 stars out of 5 - "...They winningly assume the mantle of boy-band elder statesmen. Each Gibb stakes out a portion od the album for his own....powering through terrific ballads..."

Q (5/01, p.102) - 3 stars out of 5 - "...Those breathless falsetto harmonies retain their doo-wop edge, the compelling title track has a pared-down, beat-driven, almost Beatles-ish quality..."

Mojo (Publisher) (5/01, p.114) - "...Fromthe mastercraftsmanly pop-structure of the title track opener to the final big and sprauncy Euro-disco anthem that is 'Promise The Earth,' everything is harmonious, hooky and comfortingly cliched, the complete Bee Gees bee's knees..."