Introduction:

Nestled within the sprawling double album Odessa, released by the Bee Gees in 1969, lies a hidden gem – “First of May”. While overshadowed by the album’s more commercially successful tracks like “Odessa” (City on the Black Sea)” and “Nights on Broadway,” “First of May” offers a poignant glimpse into the band’s introspective songwriting and evolving sound.

Composed by the Gibb brothers – Barry, Robin, and Maurice – the song showcases a departure from the band’s earlier, upbeat pop style. “First of May” leans towards a more melancholic and introspective ballad, marked by a wistful piano melody and the brothers’ signature close harmonies. Though credited to all three brothers, Barry Gibb takes the lead on vocals, imbuing the song with a sense of yearning and nostalgia.

The exact origin of the song’s title remains a subject of some debate. Some speculate it references a specific childhood memory, while others believe it serves as a more symbolic representation of lost innocence or the fleeting nature of time. Regardless of the specific inspiration, the lyrics paint a vivid picture of childhood memories contrasting with the realities of adulthood. Lines like “When I was small, and Christmas trees were tall” evoke a sense of childlike wonder, while the counterpoint of “Now we are tall, and Christmas trees are small” highlights the passage of time and the inevitable changes it brings.

“First of May” was not a chart-topping hit, released as the B-side to the single “Melody Fair.” However, the song’s subtle beauty and introspective lyrics have garnered a devoted following among die-hard Bee Gees fans. It stands as a testament to the band’s versatility, showcasing their ability to move beyond catchy pop hooks and delve into deeper emotional territory. Despite its lack of mainstream success, “First of May” remains a cherished part of the Bee Gees’ legacy, offering a window into their artistic evolution and their enduring ability to connect with listeners through relatable themes of nostalgia and lost innocence.

Video:

You Missed

At 89, Engelbert Humperdinck is no longer just the velvet voice that once defined romance for millions — he is a man standing alone in the quiet after the applause, carrying a love story that even time could not silence. Gone are the roaring stages and dazzling lights. In their place: a trembling confession, eyes glistening, voice unsteady as he speaks of the woman who was never just his wife — but his anchor, his inspiration, his forever. After more than half a century side by side, illness took her from this world… but never from his heart. “She’s still with me,” he whispered — and in that fragile moment, the world seemed to pause. For decades, fans believed his greatest love songs were performances. Now we know they were promises. Promises whispered in hospital rooms. Promises carried through sleepless nights. Promises that did not break when her hand slipped from his. This is not the story of a superstar. This is the story of a husband who still sets a place for her in his memories. Of a man who sings not to an audience — but to the love of his life, wherever she may be. Because for Engelbert, love was never about spotlight or roses. It was loyalty through suffering. Devotion through fading strength. A bond that outlived breath itself. And perhaps that is why his words cut so deeply now. True love doesn’t die when a heartbeat stops. It lingers — in photographs, in melodies, in quiet conversations with the past. It lives on in every note he sings… and in every tear shed by those who finally understand that the greatest romance of his life was never written in lyrics — but in a lifetime of unwavering love.