Jive Talkin'

Origins and recording

The song was initially titled "Drive Talking" in its early stage. Its rhythm was inspired by the sound of the band's car crossing the Julia Tuttle Causeway each day from Biscayne Bay to Criteria Studios in Miami. Recording took place on 30 January and 2 February 1975. The pulsing synthesiser bass line, one of the earliest uses of "synth bass" on a pop recording alongside the pioneering work of Stevie Wonder, was overdubbed by keyboardist Blue Weaver using an ARP 2600 that producer Arif Mardin had brought for the Main Course sessions.

Weaver noted that Maurice was away from the studio that night, and when he returned, he heard the synth bass and chose to overdub certain sections on his bass guitar for extra emphasis. The song was also influenced by "You're the One" by Little Sister, written by Sly Stone. According to Maurice, while hearing the rhythmic sound, Barry began singing "Ji-Ji-Jive Talkin'" thinking of the dance "You dance with your eyes," and the tempo matched exactly 35 mph.

When they played it for Mardin, he informed them that "jive talkin'" was a black expression for bullshitting, leading them to change the lyrics to "Jive talkin', you're telling me lies." Maurice credited Mardin with providing the groove and tempo. Robin Gibb noted that as English musicians, they were less self-conscious about exploring musical styles considered "no-go areas," adding that they saw no such boundaries. Barry's guitar strumming incorporated a smoother version of Kool and the Gang's chicka-chicka sound and a funky Nassau version of KC and the Sunshine Band's Caribbean strumming.

The rhythm riff resembles that of "Shame, Shame, Shame" by Shirley & Company, with a prominent use of the Bo Diddley beat.

Release

Upon its release to radio stations, the single was delivered in a plain white cover with no indication of the song's name or artist; DJs only learned the details when the record was placed on the turntable, as RSO provided a label on the record itself. This was the second time the band had used this strategy to gain airplay, following a similar tactic for their debut US single "New York Mining Disaster 1941" in 1967. Record World described the song as a "delightful departure" from the Bee Gees' sweet sound.

Cash Box noted its "new funky sound" and predicted it would be their biggest hit since "I've Got To Get A Message To You." Rolling Stone critic Stephen Holden said it approximated the synthesized propulsion of Stevie Wonder's "Superstition" while offering an inept lyric parody of black street argot. The original studio version was included on the Saturday Night Fever soundtrack, though it was used in a scene cut from the final film. Later pressings of the album used a live version from the Bee Gees' 1977 album Here at Last... Bee Gees... Live due to contractual distribution changes; the CD version restored the studio recording.

Did You Know?

• The rhythm was inspired by the sound of the band's car crossing the Julia Tuttle Causeway at exactly 35 mph.