It was enough to impress Stigwood and he bought the rights to the article. Written by music critic Nik Cohn, the story was presented as fact, although the journalist would later confess – two decades after the film’s release – that it had, in fact, been a largely fictional account. The film was to be based on an article published in New York magazine in June 1976, describing the exploits of a group of young Italian New Yorkers who hit the dancefloor every Saturday night. Nor did the trio of brothers Barry, Robin and Maurice Gibb have much interest in recording the soundtrack to their manager’s pet project. Everybody had their own little soap opera.” “They were touring Malaysia and Venezuela, the two places where they were still popular. He was then an assistant to the film’s producer and the band’s manager, Robert Stigwood. “The Bee Gees were broken,” Kevin McCormick told Vanity Fair in 2007. The world was already moving on from disco as its early flair fizzled out, and the Bee Gees’ popularity was dwindling.
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John Travolta was a TV sitcom actor with an adoring teenage fanbase but almost no chance of making it in Hollywood.
Even the presence of David Shire's "Night on Disco Mountain" and "Salsation," and Walter Murphy's "A Fifth of Beethoven," don't hurt, because these set a mood and a surrounding ambience for the Bee Gees' material that makes it work even better.When Saturday Night Fever was released at the end of 1977, no one could have predicted what would happen next. In essence, the layout of the soundtrack was the culmination of everything they'd been moving toward since the Mr. Despite the presence of other artists, Saturday Night Fever is virtually indispensable as a Bee Gees album, not just for the presence of an array of songs that were hits in their own right - and which became the de facto soundtrack to a half-decade of pop culture history - but because it offered the Gibb Brothers as composers as well as artists, with their work recorded by Yvonne Elliman ("If I Can't Have You"), and Tavares ("More Than a Woman"), and it placed their music alongside the work of Kool & the Gang and MFSB.
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Strangely enough, for all of the fixation of the movie and its audience on dancing, the Bee Gees' new songs were weighted equally toward ethereal ballads, which may be one reason for the soundtrack album's appeal - it delivers what its audience expects, plus a "bonus" in the form of the soaring, lyrical romantic numbers that were, as with most ventures by the Gibb Brothers in this area, virtually irresistible. Instead, Stigwood fired him and brought in the very talented but much more agreeable John Badham, the movie's title was changed to Saturday Night Fever, the Bee Gees' music stayed, and the result was the biggest-selling soundtrack album in history, a 25-million copy monster whose sales, even as a more expensive double-LP, dwarfed the multi-million units sold of Children of the World and Main Course. The group's involvement even survived the decision by the original director, John Avildsen, that he didn't want their music in the film. More out of loyalty to him than any belief in the viability of the film, they obliged.
Instead, Robert Stigwood asked them in early 1977 to contribute songs to the soundtrack of a movie that he was financing, a low-budget picture called Tribal Rites on a Saturday Night. The Bee Gees had written "Stayin' Alive" (then called "Saturday Night"), "Night Fever," "How Deep Is Your Love," "If I Can't Have You," and "More Than a Woman" for what would have been the follow-up album to Children of the World, and they might well have enjoyed platinum-record status with that proposed album. Saturday Night Fever, as a movie and an album, plus a brace of hit singles off of it, suddenly made disco explode into mainstream, working- and middle-class America with a new immediacy and urgency, increasing its audience ten-fold overnight. Ironically, before its release, the disco boom had seemingly run its course, primarily in Europe, and was confined mostly to black culture and the gay underground in America.
Saturday Night Fever, although hardly as prodigious an artistic achievement as those precursors, was precisely that kind of musical phenomenon for the second half of the '70s. Pepper's Lonely Hearts Club Band album served this purpose for the era of psychedelic music in the 1960s. Every so often, a piece of music comes along that defines a moment in popular culture history: Johann Strauss' operetta Die Fledermaus did this in Vienna in the 1870s Jerome Kern's Show Boat did it for Broadway musicals of the 1920s, and the Beatles' Sgt.
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