[7][8] It also spent 20 weeks on the Billboard 200 chart, peaking at number 6,[8] and was nominated for Best Album of Original Score Written for a Motion Picture or a Television Special at the 1984 Grammy Awards.

[4]: 537 It was during this period that Robert Stigwood approached the Bee Gees and asked them to record new songs for the upcoming Staying Alive film, the sequel to Saturday Night Fever.

"[2] Despite accusations of nepotism, the song selection process was actually conducted anonymously, as Frank later recalled:"[Sylvester] 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.

[16] Intended for film's final dance sequence, it has been described as "a terrific number, the music changing several times, building in intensity, with two main melodies and an instrumental section.

[7] The final single, "I'm Never Gonna Give You Up", a duet between Frank Stallone and Cynthia Rhodes, was released in January 1984[20] and reached number 16 in the Adult Contemporary chart.

"[25] 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 result was "equally tuneful.

"[26] 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".

[27] 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.

[30] 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.

[31] 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.

"[31] 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.

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