And then he asks for empathy in surprisingly poetic ways: “You treat me like a vision in the night/ Someone there to stand behind you when your world ain’t working right.” We don’t know whether his pleas work, but we do know that Gibb’s narrator is going to stay with this girl whatever she does: “No matter how you hurt me, I will love you till I die.”īut Barry and his brothers don’t deliver this like it’s a desperate request. “Too many lovers in one lifetime ain’t good for you,” Barry chides. He’s freaking out over what to do, pleading for her to stop, but he’s unwilling to give up on the relationship. Barry Gibb is in love with someone, but she won’t stop cheating on him. Lyrically, “Love You Inside Out” is deadly-serious adult stuff. It’s definitely minor Bee Gees, but before the crash, even minor Bee Gees sounded like pure gold. It’s a calm, funky little lope, an effortless squiggle. “Love You Inside Out” isn’t even a disco song. The song sounds like the Bee Gees just cruising, ragtop down, voluminous hair blowing in the wind, sun glinting off of unnaturally white teeth. You can’t actually hear any of that happening in “Love You Inside Out,” of course. So “Love You Inside Out” goes down in history as the very end of a historic hot streak - the sound of an imperial phase coming to an end. Presumably thanks to Saturday Night Fever, the Bee Gees had come to represent disco in the public imagination. The Bee Gees had been around before disco, and they’d proven themselves capable of putting together non-disco hits, but it didn’t matter. “Love You Inside Out,” the Bee Gees’ final #1 single, peaked on the charts a few weeks before the Chicago Disco Demolition Night, the event that at least crystallized the long-brewing disco backlash. The LP’s three singles, which were also the first three songs on the album, all made it to the top.
Spirits Having Flown, the album that the group released in the immediate aftermath of the Saturday Night Fever bonanza, turned out to be a blockbuster as well. In a year and a half, the Bee Gees had hit #1 with six consecutive singles, something only the Beatles had done previously, and that’s not even counting the hits that the Gibb brothers were writing and producing for other artists. It must’ve seemed like it was going to keep going forever. In The Number Ones, I’m reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and working my way up into the present.
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