While the Bee Gees were split up, Maurice and Barry recorded a solo album each and Robin recorded two, but the only one to be released was Robin's first, "Robin's Reign", a horrible, over-orchestrated album, and the other one "Sing Slowly Sisters" was hardly better. Maurice recorded an album called "The Loner" which also remained unreleased, and I can't judge over it since I don't own it, but I know three of the songs and they all seem good quality. Now, then, Barry's album: This one, "The Kid's No Good". No one of the songs here is really bad, and there are some truly outstanding songs which could easily have been released and could have been excellent singles. Now, that was the problem here. The (by far) worst song was the lead-off-single, the weepy pseudo-country "I'll Kiss Your Memory" which was released in April 1970 alongside with its B-Side, "This Time" which was a little better. But the best songs off these album never saw the light of day (or at least not Barry's versions, most of the songs were afterwards placed by other artists). There is, for example, the opener "Mando Bay" with Barry singing very deep-voiced in the verses, but the chorus is lighter and more hopeful. However, he does certainly better on "One Bad Thing", an uptempo pop track with very effective uptempo horns. Then there is "Peace In My Mind", which was later recorded by the German singer Katja Ebstein, which has an outstanding arrangement (just as all the other songs), but these flutes really work exceptionally well. "Clyde O'Riley" seems to be intended story-telling country, but I think it does also have comical elements in it, especially with Barry trying to take a strange texanic accent. "The Victim", another country-esk piece with very effectice short acoustic-guitar-breaks as very down in mood and the ending with the repeats of "to show me how" make this one a really brooding track. "What's It All About?" has a happier but also very cynical note, and the lyrics of women whose only aim are men and "how the can stop the war to make room for twenty more" make this some kind of protest-song on one side and a nice Dylan-parody on the other side. The best track of this lot, however, is surely "Born". Again, it has uptempo horns, but this is the only track which has notable backing vocals by someone else than Barry, a woman surely and it may be P. P. Arnold who recorded a version of the song herself but that remained unreleased, too. And - again in the background - you can here for the first time perhaps Barry's famous backing falsetto screams. All in all, this is an excellent album which would really have been worth release. Although the solo albums are not included in the line of the Rhino remasters perhaps someone else may take this album, just perhaps...