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== Recording and composition == == Recording and composition ==
In 1982, while the script for the film was still being "polished", Frank Stallone and some musician friends "holed up in a 'garage in the (San Fernando) valley' with 'a $40 that was always breaking" to record 12 or 13 songs in hopes that at least one of them would be picked for the film by his older brother, director Sylvester Stallone.<ref name=":3" /> As the film was being shot, the younger Stallone would frequently bring his brother new mixes of his recordings, which he described as "straight-ahead music", although some of the tunes had, according to him, "a harder edge than just pop."<ref name=":3" /> Even though there were claims of nepotism, the selection for his songs was done in anonymity, as Frank later remembered:<blockquote>" played my tapes for Stigwood and his associates, without telling them who composed the music, because none of them really wanted me working on the picture. When they said it was great, told them, 'It's my brother,' and they were kind of caught."<ref name=":3" /></blockquote>Out of the songs that Stallone co-wrote, nine appeared in the movie, while four made it to the album.<ref name=":3" /> "]", which he co-wrote with Vince DiCola and performed alone, was released as a single in July, a few days before the film's premiere, and was featured throughout it.<ref>{{Cite news |last=Reich |first=Howard |date=1983-07-31 |title=Going For Gold In 'Staying Alive's' Music |url=https://books.google.com/books?id=hOIhAAAAIBAJ&pg=PA52 |access-date=2024-12-12 |work=] |page=H-4}}</ref> In 1982, while the script for the film was still being "polished", Frank Stallone and some musician friends "holed up in a 'garage in the (San Fernando) valley' with 'a $40 that was always breaking" to record 12 or 13 songs in hopes that at least one of them would be picked for the film by his older brother, director Sylvester Stallone.<ref name=":3" /> As the film was being shot, the younger Stallone would frequently bring his brother new mixes of his recordings, which he described as "straight-ahead music", although some of the tunes had, according to him, "a harder edge than just pop."<ref name=":3" /> Even though there were claims of nepotism, the selection for his songs was done in anonymity, as Frank later remembered:<blockquote>" played my tapes for Stigwood and his associates, without telling them who composed the music, because none of them really wanted me working on the picture. When they said it was great, told them, 'It's my brother,' and they were kind of caught."<ref name=":3" /></blockquote>Out of the songs that Stallone co-wrote, nine appeared in the movie, while four made it to the album.<ref name=":3" /> "]", which he co-wrote with Vince DiCola and performed alone, was released as a single in July, a few days before the film's premiere, and was featured throughout it.<ref>{{Cite news |last=Reich |first=Howard |date=1983-07-31 |title=Going For Gold In 'Staying Alive's' Music |url=https://books.google.com/books?id=hOIhAAAAIBAJ&pg=PA52 |access-date=2024-12-12 |work=] |page=H-4}}</ref>


At around the same time that the younger Stallone was working on his tracks, the Bee Gees were also in the process of making songs for the movie in anticipation of being asked to.<ref name=":3" /> Between February and March of 1983, the group got together at Middle Ear Studio, in ], and cut five new songs.<ref name=":2" />{{Reference page|page=230}} Talking about their contributions to the soundtrack, Maurice said:<blockquote>"It is five years later and, to us, the script projected the '80s. So we went for a totally different kind of energy in the score. Because of outlook in this film, the music is more brutal."<ref name=":3" /></blockquote>In an interview, Robin revealed that Sylvester Stallone came to visit the brothers at the studio while they were writing the new songs and was "in touch by and large with the process of the writing".<ref>{{Cite AV media |url=https://www.youtube.com/watch?v=_VK4NhMUI68 |title=tv interview july 1983 talking about staying alive(Bee Gees) |date=2010-07-26 |type=Interview |time=2:28-2:45 |time-caption=Event occurs between |access-date=2024-12-12 |archive-url=https://ghostarchive.org/varchive/_VK4NhMUI68 |archive-date=2024-12-13 |url-status=live |via=YouTube}}</ref> In a separate occasion, he also said that Stallone phoned them "a few times to say to say ... what he wanted here and there ... in different parts of the music."<ref>{{Cite AV media |url=https://www.youtube.com/watch?v=tX4_hwVuoYM |title=Bee Gees Interv 1983 Australia Satellite to Miami |date=2016-02-03 |type=Interview |time=5:40-5:46 |time-caption=Event occurs at |access-date=2024-12-12 |archive-url=https://ghostarchive.org/varchive/tX4_hwVuoYM |archive-date=2024-12-13 |url-status=live}}</ref> Despite this, the brothers still expressed some general dissatisfaction towards directors and their control over the music, with Barry stating that it would be "nice" if the composers and filmmakers could "actually sit down at the same table long before the film gets made, and discuss how the music will be treated or how the film will be made compared to the music."<ref name=":1" />{{Reference page|page=535}} At around the same time that the younger Stallone was working on his tracks, the Bee Gees were also in the process of making songs for the movie in anticipation of being asked to.<ref name=":3" /> Between February and March of 1983, the group got together at Middle Ear Studio, in ], and cut five new songs.<ref name=":2" />{{Reference page|page=230}} Talking about their contributions to the soundtrack, Maurice said:<blockquote>"It is five years later and, to us, the script projected the '80s. So we went for a totally different kind of energy in the score. Because of outlook in this film, the music is more brutal."<ref name=":3" /></blockquote>In an interview, Robin revealed that Sylvester Stallone came to visit the brothers at the studio while they were writing the new songs and was "in touch by and large with the process of the writing".<ref>{{Cite AV media |url=https://www.youtube.com/watch?v=_VK4NhMUI68 |title=tv interview july 1983 talking about staying alive(Bee Gees) |date=2010-07-26 |type=Interview |time=2:28-2:45 |time-caption=Event occurs between |access-date=2024-12-12 |archive-url=https://ghostarchive.org/varchive/_VK4NhMUI68 |archive-date=2024-12-13 |url-status=live |via=YouTube}}</ref> In a separate occasion, he also said that Stallone phoned them "a few times to say to say ... what he wanted here and there ... in different parts of the music."<ref>{{Cite AV media |url=https://www.youtube.com/watch?v=tX4_hwVuoYM |title=Bee Gees Interv 1983 Australia Satellite to Miami |date=2016-02-03 |type=Interview |time=5:40-5:46 |time-caption=Event occurs at |access-date=2024-12-12 |archive-url=https://ghostarchive.org/varchive/tX4_hwVuoYM |archive-date=2024-12-13 |url-status=live}}</ref> Despite this, the brothers still expressed some general dissatisfaction towards directors and their control over the music, with Barry stating that it would be "nice" if the composers and filmmakers could "actually sit down at the same table long before the film gets made, and discuss how the music will be treated or how the film will be made compared to the music."<ref name=":1" />{{Reference page|page=535}}
Line 56: Line 56:
| rev1 = ] | rev1 = ]
| rev1score = {{Rating|3|5}} | rev1score = {{Rating|3|5}}
}}On May 28, 1983, '']'' observed that with "]", "the rock-dance synthesis" the Bee Gees had "perfected" in ] still retained its "powerful appeal."<ref>{{Cite magazine |date=May 28, 1983 |title=Top Single Picks - Pop |access-date= |magazine=] |page=63}}</ref> The following week, on June 4, '']'' wrote that the track provided "an excellent barometer of the changes and similarities in dance music" since ''Saturday Night Fever'', adding that while "the keyboards, horns and funk beat" made for a "tougher sound", the end result was "equally tuneful."<ref>{{Cite magazine |date=June 4, 1983 |title=Singles - Feature Picks |url=https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/80s/1983/CB-1983-06-04.pdf |access-date=December 15, 2024 |magazine=] |page=10 |via=World Radio History |volume=XLV |issue=1}}</ref> }}On May 28, 1983, '']'' observed that with "]", "the rock-dance synthesis" the ] had "perfected" in ] still retained its "powerful appeal."<ref>{{Cite magazine |date=May 28, 1983 |title=Top Single Picks - Pop |access-date= |magazine=] |page=63}}</ref> The following week, on June 4, '']'' wrote that the track provided "an excellent barometer of the changes and similarities in dance music" since ''Saturday Night Fever'', adding that while "the keyboards, horns and funk beat" made for a "tougher sound", the end result was "equally tuneful."<ref>{{Cite magazine |date=June 4, 1983 |title=Singles - Feature Picks |url=https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/80s/1983/CB-1983-06-04.pdf |access-date=December 15, 2024 |magazine=] |page=10 |via=World Radio History |volume=XLV |issue=1}}</ref>


That same month, Michael Lawson of '']'' remarked that, despite being the director's brother, ] stood on his own with "mellow tunes" that "provided some of the nicest moments of the soundtrack", especially with the "bluesy" "Moody Girl".<ref name=":5">{{Cite news |last=Lawson |first=Michael |date=June 29, 1983 |title=Frank Stallone featured in Staying Alive |url=https://books.google.com/books?id=D69VAAAAIBAJ&pg=PA54 |access-date=December 15, 2024 |work=] |page=D12}}</ref> Lawson wrote that the Bee Gees' tracks were "likeable enough", noting that "The Woman in You" was the strongest, while "Breakout" showcased the "familiar elements of the group at its finest."<ref name=":5" /> However, he felt the rest of their contributions lacked the "dynamics" of their ''Saturday Night Fever'' work.<ref name=":5" /> That same month, Michael Lawson of '']'' remarked that, despite being the director's brother, ] stood on his own with "mellow tunes" that "provided some of the nicest moments of the soundtrack", especially with the "bluesy" "Moody Girl".<ref name=":5">{{Cite news |last=Lawson |first=Michael |date=June 29, 1983 |title=Frank Stallone featured in Staying Alive |url=https://books.google.com/books?id=D69VAAAAIBAJ&pg=PA54 |access-date=December 15, 2024 |work=] |page=D12}}</ref> Lawson wrote that the Bee Gees' tracks were "likeable enough", noting that "The Woman in You" was the strongest, while "Breakout" showcased the "familiar elements of the group at its finest."<ref name=":5" /> However, he felt the rest of their contributions lacked the "dynamics" of their ''Saturday Night Fever'' work.<ref name=":5" />


On July 2, ''Cashbox'' reviewed the album and suggested that the "movie and its modern dance motifs could possibly bring on the same kind of enthusiasm generated by ''Flashdance''", though they "may be somewhat hindered by the disco backlash."<ref>{{Cite magazine |date=July 2, 1983 |title=Albums - Out of the Box |url=https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/80s/1983/CB-1983-07-02.pdf |access-date=December 15, 1983 |magazine=] |page=6 |via=World Radio History}}</ref> On July 15, the day of the film's premiere, Janet Maslin of The New York Times described the Bee Gees songs as "pleasant, but little more". A week later, Bruce Bailey of The Gazette described Staying Alive as a soundtrack "in search of a movie", and noted that it was not "even "particularly good". By the end of the month, Associated Press writer Bob Thomas wrote that the Staying Alive soundtrack was a "bore" and a "monumental disappointment" in comparison to Saturday Night Fever, from which came the sequel's "best" song: its title track. Thomas considered that "The Woman in You" was the best of the new Bee Gees tracks, since the rest had a "sense of deja vu" about them, and said that Stallone's compositions were "even worse", describing them as "anonymous and uninteresting." On July 2, ''Cashbox'' reviewed the album and suggested that the "movie and its modern dance motifs could possibly bring on the same kind of enthusiasm generated by '']''", though they "may be somewhat hindered by the disco backlash."<ref>{{Cite magazine |date=July 2, 1983 |title=Albums - Out of the Box |url=https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/80s/1983/CB-1983-07-02.pdf |access-date=December 15, 2024 |magazine=] |page=6 |via=World Radio History}}</ref> On July 15, the day of the film's premiere, ] of '']'' described the Bee Gees songs as "pleasant, but little more".<ref>{{Cite news |last=Maslin |first=Janet |date=July 15, 1983 |title=Screen: 'Staying Alive' |url=https://www.nytimes.com/1983/07/15/movies/staying-alive.html |access-date=December 15, 2024 |work=] |page=C8}}</ref> A week later, Bruce Bailey of ] described ''Staying Alive'' as a soundtrack "in search of a movie", and noted that it was not "even "particularly good".<ref>{{Cite news |last=Bailey |first=Bruce |date=July 23, 1983 |title='Staying Alive' a deadbeat all the way |url=https://books.google.com.co/books?id=QxUyAAAAIBAJ&pg=PA42 |access-date=December 16, 2024 |work=] |page=E-4}}</ref> By the end of the month, ] writer ] wrote that the album was a "bore" and a "monumental disappointment" in comparison to ], from which came the sequel's "best" song: its title track.<ref name=":6">{{Cite news |last=Thomas |first=Bob |date=July 21, 1983 |title=Travolta sequel fails to deliver |url=https://books.google.com.co/books?id=zVVIAAAAIBAJ&pg=PA7 |access-date=December 15, 2024 |work=] |page=2B}}</ref> Thomas considered that "The Woman in You" was the best of the new Bee Gees tracks, since the rest had a "sense of deja vu" about them, and said that Stallone's compositions were "even worse", describing them as "anonymous and uninteresting."<ref name=":6" /> In August, ] wrote on ] that even though the Bee Gees songs were "mediocre", they fared better when compared to the "Vegas-showroom junk" composed by Stallone.<ref>{{Cite magazine |last=Denby |first=David |date=August 1, 1983 |title=Invasion of the Movie Snatchers |url=https://books.google.com.co/books?id=leICAAAAMBAJ&pg=PA55 |access-date=December 15, 2024 |magazine=] |page=55}}</ref>


⚫ In a retrospective review, ]'s William Ruhlmann found that despite the film's and soundtrack's commercial failure, the album contained some of the "better Bee Gees work of the '80s", especially "]".<ref>{{Cite web |last=Ruhlmann |first=William |title=Staying Alive Review |url=https://www.allmusic.com/album/staying-alive-mw0000191844 |access-date=December 15, 2024 |website=]}}</ref>
In August, David Denby wrote on New York Magazine that even though the Bee Gees songs were "mediocre", they fared better when compared to the "Vegas-showroom junk" composed by Stallone.

⚫ In a retrospective review, AllMusic's William Ruhlmann found that despite the film's and soundtrack's commercial failure, the album contained some of the "better Bee Gees work of the '80s", especially "Someone Belonging to Someone".


== Track listing == == Track listing ==

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1983 soundtrack album by the Bee Gees and other artists
Staying Alive: Original Motion Picture Soundtrack
Soundtrack album by the Bee Gees and other artists
Released1983
Recorded1977 ("Stayin' Alive"), 1983 in Middle Ear Studio (Miami Beach, Florida)
Length45:29
LabelRSO Records
Producer
Bee Gees chronology
Living Eyes
(1981) 		Staying Alive: Original Motion Picture Soundtrack
(1983) 		E.S.P.
(1987)
Singles from Staying Alive: Original Motion Picture Soundtrack
  1. "The Woman in You"
    Released: May 1983
  2. "Someone Belonging to Someone"
    Released: July 1983
  3. "Far from Over"
    Released: July 1983
  4. "Look Out for Number One"
    Released: 1983
  5. "I'm Never Gonna Give You Up"
    Released: December 1983

Staying Alive: Original Motion Picture Soundtrack is the soundtrack album to the 1983 film Staying Alive, the sequel to Saturday Night Fever. It was released in June 1983 by RSO Records, a month before the film premiered, and would be the label's last album release.

The album's first side features five new songs written and performed by the Bee Gees, while its second side includes songs by a variety of artists, mostly co-written with Frank Stallone, and performed by Stallone and Cynthia Rhodes, both of which were actors in the film, along with Tommy Faragher.

The soundtrack reached No. 14 in the United Kingdom, No. 6 in the United States, No. 1 in Switzerland, and No. 2 in Italy and Japan.

Background

After the release of Living Eyes, the Bee Gees took a break and focused on other projects. During the second half of 1982, they helped release and make Dionne Warwick's Heartbreaker album, and began work on what would become Kenny Rogers' Eyes That See in the Dark album. At the same time, Robin also started work on his second solo album, How Old Are You?, for which he enlisted his brother Maurice's help.

It was during this time that Robert Stigwood approached the Bee Gees and asked them to record a few songs for the upcoming Staying Alive film, the sequel to Saturday Night Fever, which Stigwood was producing and had been planning to do since its highly successful release. They were contacted about halfway through its production, and their work on the soundtrack would fulfill the group's last contractual obligation with RSO Records.

The film's director, Sylvester Stallone, had been busy sorting through tapes sent by a variety of artists from around the country, including those from his younger brother Frank. He had previously written songs for the then three Rocky movies (he also performed as a street-corner singer in Rocky), along with Paradise Alley.

Recording and composition

In 1982, while the script for the film was still being "polished", Frank Stallone and some musician friends "holed up in a 'garage in the (San Fernando) valley' with 'a $40 that was always breaking" to record 12 or 13 songs in hopes that at least one of them would be picked for the film by his older brother, director Sylvester Stallone. As the film was being shot, the younger Stallone would frequently bring his brother new mixes of his recordings, which he described as "straight-ahead music", although some of the tunes had, according to him, "a harder edge than just pop." Even though there were claims of nepotism, the selection for his songs was done in anonymity, as Frank later remembered:

" played my tapes for Stigwood and his associates, without telling them who composed the music, because none of them really wanted me working on the picture. When they said it was great, told them, 'It's my brother,' and they were kind of caught."

Out of the songs that Stallone co-wrote, nine appeared in the movie, while four made it to the album. "Far from Over", which he co-wrote with Vince DiCola and performed alone, was released as a single in July, a few days before the film's premiere, and was featured throughout it. At around the same time that the younger Stallone was working on his tracks, the Bee Gees were also in the process of making songs for the movie in anticipation of being asked to. Between February and March of 1983, the group got together at Middle Ear Studio, in Miami Beach, and cut five new songs. Talking about their contributions to the soundtrack, Maurice said:

"It is five years later and, to us, the script projected the '80s. So we went for a totally different kind of energy in the score. Because of outlook in this film, the music is more brutal."

In an interview, Robin revealed that Sylvester Stallone came to visit the brothers at the studio while they were writing the new songs and was "in touch by and large with the process of the writing". In a separate occasion, he also said that Stallone phoned them "a few times to say to say ... what he wanted here and there ... in different parts of the music." Despite this, the brothers still expressed some general dissatisfaction towards directors and their control over the music, with Barry stating that it would be "nice" if the composers and filmmakers could "actually sit down at the same table long before the film gets made, and discuss how the music will be treated or how the film will be made compared to the music."

None of the songs from Saturday Night Fever were included on the sequel's soundtrack, except for an edited version of "Stayin' Alive". The Bee Gees actually recorded a sixth song during the Staying Alive sessions that still remains unreleased. Titled "River of Souls", it was intended for the final dance sequence of the film and has been described as "a terrific number, the music changing several times, building in intensity, with two main melodies and an instrumental section."

Release

Critical reception

Professional ratings
Review scores
SourceRating
AllMusic

On May 28, 1983, Billboard observed that with "The Woman in You", "the rock-dance synthesis" the Bee Gees had "perfected" in Saturday Night Fever still retained its "powerful appeal." The following week, on June 4, Cashbox wrote that the track provided "an excellent barometer of the changes and similarities in dance music" since Saturday Night Fever, adding that while "the keyboards, horns and funk beat" made for a "tougher sound", the end result was "equally tuneful."

That same month, Michael Lawson of The Canadian Press remarked that, despite being the director's brother, Frank Stallone stood on his own with "mellow tunes" that "provided some of the nicest moments of the soundtrack", especially with the "bluesy" "Moody Girl". Lawson wrote that the Bee Gees' tracks were "likeable enough", noting that "The Woman in You" was the strongest, while "Breakout" showcased the "familiar elements of the group at its finest." However, he felt the rest of their contributions lacked the "dynamics" of their Saturday Night Fever work.

On July 2, Cashbox reviewed the album and suggested that the "movie and its modern dance motifs could possibly bring on the same kind of enthusiasm generated by Flashdance", though they "may be somewhat hindered by the disco backlash." On July 15, the day of the film's premiere, Janet Maslin of The New York Times described the Bee Gees songs as "pleasant, but little more". A week later, Bruce Bailey of The Gazette described Staying Alive as a soundtrack "in search of a movie", and noted that it was not "even "particularly good". By the end of the month, Associated Press writer Bob Thomas wrote that the album was a "bore" and a "monumental disappointment" in comparison to Saturday Night Fever, from which came the sequel's "best" song: its title track. Thomas considered that "The Woman in You" was the best of the new Bee Gees tracks, since the rest had a "sense of deja vu" about them, and said that Stallone's compositions were "even worse", describing them as "anonymous and uninteresting." In August, David Denby wrote on New York Magazine that even though the Bee Gees songs were "mediocre", they fared better when compared to the "Vegas-showroom junk" composed by Stallone.

In a retrospective review, AllMusic's William Ruhlmann found that despite the film's and soundtrack's commercial failure, the album contained some of the "better Bee Gees work of the '80s", especially "Someone Belonging to Someone".

Track listing

All tracks on Side one are written and performed (as the Bee Gees) by Barry, Robin and Maurice Gibb, and are produced by the Bee Gees along with Karl Richardson and Albhy Galuten.

Side one
No.TitleLength
1."The Woman in You"4:01
2."I Love You Too Much"4:27
3."Breakout"4:41
4."Someone Belonging to Someone"4:24
5."Life Goes On"4:23
6."Stayin' Alive" (edited version)1:30
Side two
No.TitleWriter(s)Producer(s)Length
1."Far from Over" (Frank Stallone)Johnny Mandel3:53
2."Look Out for Number One" (Tommy Faragher)
  • Bruce Stephen Foster
  • Tom Marolda
3:19
3."Finding Out the Hard Way" (Cynthia Rhodes)
  • F. Stallone
  • Roy Freeland
  • S. Levine
  • F. Stallone
3:30
4."Moody Girl" (Frank Stallone)J. Mandel4:06
5."(We Dance) So Close to the Fire" (Tommy Faragher)
  • Randy Bishop
  • T. Faragher
  • S. Levine
  • Randy Bishop
3:43
6."I'm Never Gonna Give You Up" (Frank Stallone and Cynthia Rhodes)
  • F. Stallone
  • V. DiCola
  • J. Esposito
J. Mandel3:32
Total length:45:29

Personnel

Charts

Chart (1983) Peak

position

Australia (Kent Music Report) 28
US (Billboard 200) 6

Chart singles

Year Title Artist US US

AC

US

R&B

US

Dance

UK
1983 "The Woman in You" Bee Gees 24 - 77 - 81
"Someone Belonging to Someone" 49 - - - 49
"Far from Over" Frank Stallone 10 - - 43 68
"I'm Never Gonna Give You Up" Frank Stallone, Cynthia Rhodes - 16 - - -
"Look Out for Number One" Tommy Faragher - - - - -

Certifications and sales

Region Certification Certified units/sales
Canada (Music Canada) Platinum 100,000
France (SNEP) Gold 100,000
Hong Kong (IFPI Hong Kong) Gold 10,000
United Kingdom (BPI) Silver 60,000
United States (RIAA) Platinum 1,000,000
Venezuela — 113,000

Sales figures based on certification alone.
Shipments figures based on certification alone.

References

  1. "Frank Stallone". Archived from the original on April 27, 2022. Retrieved April 27, 2022.
  2. "Frank Stallone". Archived from the original on April 27, 2022. Retrieved April 27, 2022.
  3. ^ Brennan, Joseph. "Gibb Songs – 1982". Columbia University. Archived from the original on July 22, 2024. Retrieved December 13, 2024.
  4. ^ Bilyeu, Melinda; Cook, Hector; Môn Hughes, Andrew (2001). The Bee Gees: Tales of The Brothers Gibb. Omnibus Press. ISBN 0-7119-8748-3.
  5. ^ Apter, Jeff (2016). Tragedy: The Ballad of The Bee Gees. London: Jawbone Press. ISBN 978-1-911036-00-5 – via Internet Archive.
  6. ^ Reich, Howard (July 16, 1983). "The musical battle behind 'Staying Alive'". The Gazette. p. E-7. Retrieved December 12, 2024.
  7. Clark, Dick (October 15, 1983). "Frank Stallone has a hard act to follow". The Leader-Post. p. C7. Retrieved December 12, 2024.
  8. Reich, Howard (July 31, 1983). "Going For Gold In 'Staying Alive's' Music". The Pittsburgh Press. p. H-4. Retrieved December 12, 2024.
  9. tv interview july 1983 talking about staying alive(Bee Gees) (Interview). July 26, 2010. Event occurs between 2:28-2:45. Archived from the original on December 13, 2024. Retrieved December 12, 2024 – via YouTube.
  10. Bee Gees Interv 1983 Australia Satellite to Miami (Interview). February 3, 2016. Event occurs at 5:40-5:46. Archived from the original on December 13, 2024. Retrieved December 12, 2024.
  11. ^ Brennan, Joseph. "Gibb Songs – 1983". Columbia University. Archived from the original on December 4, 2024. Retrieved December 13, 2024.
  12. "Top Single Picks - Pop". Billboard. May 28, 1983. p. 63.
  13. "Singles - Feature Picks" (PDF). Cashbox. Vol. XLV, no. 1. June 4, 1983. p. 10. Retrieved December 15, 2024 – via World Radio History.
  14. ^ Lawson, Michael (June 29, 1983). "Frank Stallone featured in Staying Alive". The Leader-Post. p. D12. Retrieved December 15, 2024.
  15. "Albums - Out of the Box" (PDF). Cashbox. July 2, 1983. p. 6. Retrieved December 15, 2024 – via World Radio History.
  16. Maslin, Janet (July 15, 1983). "Screen: 'Staying Alive'". The New York Times. p. C8. Retrieved December 15, 2024.
  17. Bailey, Bruce (July 23, 1983). "'Staying Alive' a deadbeat all the way". The Gazette. p. E-4. Retrieved December 16, 2024.
  18. ^ Thomas, Bob (July 21, 1983). "Travolta sequel fails to deliver". The Courier. p. 2B. Retrieved December 15, 2024.
  19. Denby, David (August 1, 1983). "Invasion of the Movie Snatchers". New York. p. 55. Retrieved December 15, 2024.
  20. Ruhlmann, William. "Staying Alive [The Original Motion Picture Soundtrack] Review". AllMusic. Retrieved December 15, 2024.
  21. Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, N.S.W.: Australian Chart Book. p. 283. ISBN 0-646-11917-6.
  22. "Bee Gees | Biography, Music & News". Billboard.
  23. "Canadian album certifications – Various Artists – Staying Alive (Soundtrack)". Music Canada. Retrieved May 18, 2021.
  24. "French album certifications – B.O.F. – Staying Alive (Soundtrack)" (in French). InfoDisc. Retrieved May 18, 2021. Select B.O.F. and click OK. 
  25. "IFPIHK Gold Disc Award − 1984". IFPI Hong Kong. Retrieved May 18, 2021.
  26. "British album certifications – Original Soundtrack – Staying Alive - Ost". British Phonographic Industry. Retrieved May 18, 2021.
  27. "American album certifications – Bee Gees – Staying Alive (Soundtrack)". Recording Industry Association of America. Retrieved May 18, 2021.
  28. "IN VENEZUELA WE OBTAIN THESE RESULTS!!" (PDF). Cashbox. October 13, 1984. p. 32. Retrieved October 25, 2024.
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