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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.

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

Recording information: Middle Ear Studio, South Beach, Florida (2001).

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..."