He’s wearing impeccably shiny red leather platform joints, which can’t be all that practical for his hardware-store job. Home of Rhythms del Mundo.In that opening scene, we see Travolta’s feet before we see the rest of him. Stayin Alive - feat.Wyclef Jean. We Trying to Stay Alive performed decently well on the charts, going to number three on the Hot Rap Singles chart. The Wyclef track includes guests spots by fellow ex-Fugee Pras and John Forte’, who wrote and produced for The Fugees on The Score. The track was an innovative re-working of the 1977 Bee Gees classic Stayin’ Alive.
He literally chases girls. He pops into a store to put a shirt on layaway. He eats two slices of pizza stacked-up, one-handed, not even remotely stressed about dripping grease or tomato sauce on his clothes. He struts down a Bay Ridge sidewalk, taller than everyone else around him, in no particular hurry.
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The next two hours of the movie work overtime to break down that image, to burn it to cinders. The video version also contains an interpolation of the main melody of 'Trans-Europe Express' by 'Kraftwerk'.In the US, it reached That opening scene of Saturday Night Fever establishes Tony Manero as some kind of white-ethnic masculine ideal — a peacocking prince of Brooklyn. The song features raps by John Fort&233 and Pras (of the Fugees) and samples the 1977 Bee Gees hit 'Stayin Alive' and Audio Twos 'Top Billin' (1987).
It hangs over the entire history of disco music. Thanks to the pulsing soundtrack, it hangs over the entire career of the Bee Gees, too. It continues to hang over Travolta’s entire decades-long career. Listen to both songs on WhoSampled, the ultimate.That image didn’t just hang over the rest of the movie. Pras and John Fort sampled Bee Geess Stayin Alive. It’s the Travolta of that opening sequence.We Trying to Stay Alive by Wyclef Jean feat.
Half the time, Barry Gibb is flexing, talking shit. In 1983, when Sylvester Stallone directed the long-awaited Saturday Night Fever sequel, that movie was called Staying Alive.The Bee Gees wanted to write a song about New York survival, and there’s a duality at work in the lyrics. It helps establish the stakes of the story, the desperation that might be underneath that Travolta strut. “Stayin’ Alive” — both the song and the title — transforms Saturday Night Fever simply by existing. But the Gibb brothers thought “Saturday Night” was a stupid, corny, overused title, and they refused. None of that happens if that opening scene is set to any song other than “Stayin’ Alive.”Robert Stigwood, the Bee Gees manager and label boss who produced Saturday Night Fever, wanted the group to record a song called “Saturday Night,” since that was the original title of the movie.
He needs somebody to help him. He feels the city breaking, and everybody’s shaking. He’s been kicked around since he was born. But the rest of the time, he’s lamenting his own hardships. He’s a dancing man, and he just can’t lose. He’s got the wings of heaven on his shoes.
They’re not just threatened. But there’s a predatory grace to the way he and his brothers ride that colossal beat. After the second chorus, Gibb lets loose with a full-on drawn-out terror-screech, like a teenage girl in a horror movie who’s just tripped over a dead body. Gibb’s vocals are an electric-shocked falsetto yip, a squeal of pain. Without that deep need, that insecurity, Gibb wouldn’t strut through the song the way he does.
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Barry Gibb and his brothers wail hard, in perfect harmony. “Stayin’ Alive” is all those things.To this day, I don’t think anyone’s ever used falsetto better in pop music. It can be mean, intense, heavy. It’s something Michael Jackson would soon come to understand: Dance music does not have to be light and fluffy. “Stayin’ Alive” is as death-haunted as, say, 1967’s “New York Mining Disaster 1941.” With “Stayin’ Alive,” the Bee Gees truly figured out how to use that dark paranoia in the service of sweeping, populist dance music.
Instead, the Bee Gees understand that those feelings all spring from the same place, that they feed each other.It works in part because “Stayin’ Alive” is just a perfect pop song. They should sound like they’re contradicting themselves. (Frankie Valli, incidentally, will soon reappear in this column with a Bee Gees collab.) It takes an astonishing level of confidence to sing about being a woman’s man when you sound like neither a woman nor a man.The genius of “Stayin’ Alive” lies in the way it stirs in fear and need and bravado.
They’d been a group long before disco, and they’d be a group long after, but this one song was the one thing that everyone knew about them. The Bee Gees’ career took a tremendous nosedive after the disco boom ended, and the omnipresence of “Stayin’ Alive” probably had a lot to do with that. That thump, a product of personal tragedy and studio experimentation, is what makes “Stayin’ Alive” such a foundational disco song.“Stayin’ Alive” was one small part of the Bee Gees’ dominant 1978 run, but it’s come to tower over the rest of their catalog and to dominate their legacy. Those looped-up drums, combined with that perfectly wormy bassline, keep “Stayin’ Alive” moving at an unrelenting pulse. Rather than hire another drummer, co-producer Albhy Galuten spliced together a few bars of drums that Bryon had already recorded for “Night Fever,” another Bee Gees song that will soon appear in this column. During the recording, for example, session drummer Dennis Bryon couldn’t be there his mother had just died.
It’s a part of our shared cultural heritage now — one of those pop miracles that just never gets old, never wears off, never loses its charge.
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