Saturday Night Fever was a 1977 film, but it was released to theatres in December, so its true impact wasn’t felt until 1978.
When it was – kaboom.
The Bee Gees owned 1978. It was obscene. The Billboard year-end Hot 100 singles? By my count, the Bee Gees wrote, performed and/or produced nine of them. Nine! Their three Saturday Night Fever songs (Night Fever, Stayin’ Alive and How Deep is Your Love), plus Yvonne Elliman’s If I Can’t Have You, Samantha Sang’s reading of Emotion, Frankie Valli’s Gibb-penned title track from Grease and no fewer than three songs by Andy Gibb, all written for him by Barry. I would imagine that More than a Woman, Jive Talkin’, You Should Be Dancing and If I Can’t Have You were still picking up heavy airplay, too. Oh yeah, and the Bee Gees’ new single, Too Much Heaven, was a number one in November, only missing out on the year-end chart as it was released at the end of the year. When you consider that level of pop domination, it almost makes the Disco Sucks riot at Comisky Park understandable.
Barry Gibb had been helping out Samantha Sang since the late 1960s, when an 18-year-old Sang travelled to the UK to pursue a pop career. Gibb heard her and urged his manager, Robert Stigwood, to sign her. He did, and she released a single (Love of a Woman) that Barry had written for her, but it was only a minor hit in a couple of countries, and not a hit at all in the UK. Sang eventually returned to Australia after her visa expired.
She continued her career down under for a few years until Gibb invited her to Miami, where the Bee Gees were based. He had a song he thought she should cut, but Barry being Barry, by the time she got there, he’d written a better one. So Sang ended up cutting Emotion, and (Our Love) Don’t Throw it All Away went to Andy Gibb (who took it into the Top 10 – this was truly a year in which everything Barry touched turned to gold).
Now, I do think Samantha Sang did a very good job with Emotion, and her decision to sing it in a breathy head voice (very like Barry’s own voice) suited the material, but at this point the world was clamouring for more Bee Gees, and no one in the US knew who Sang was. So Emotion is mixed in such a way that she is virtually a guest on her own record. The bridges and chorus feature Barry’s backing vocals so strongly that Sang is nearly drowned out. That being said, her version is better than any Bee Gees-only version I’ve heard, but it’s a measure of how besotted the world was with the Bee Gees in 1978 that after this great song dropped out of the charts, its singer was all but forgotten immediately.