The release strategy for the Footloose soundtrack sparked some internal debate. While Paramount Pictures suggested releasing the album after the film's debut to leverage moviegoer interest, the record label, Columbia Records, saw an opportunity. Sensing significant pre-release buzz, Columbia decided to release the soundtrack album on January 20, 1984, ahead of the movie's February 10th premiere, aiming to capitalize on the growing anticipation fueled by radio airplay.
The nine-track album was packed with potential hits, blending rock anthems, power ballads, and dance-pop tunes. Reflecting the deal struck months earlier, and representing a significant marketing angle, Alex Hayes himself was featured as the lead vocalist on four key songs.
This put Alex's voice front and center. It was understood that Kenny Loggins and Sammy Hagar would release their own versions of their respective songs later, but Columbia banked on Alex's versions driving the initial soundtrack excitement.
It was a gamble, but one that paid off swiftly. Radio stations immediately jumped on the tracks, particularly the title song. The music slowly started gaining traction across the country. Then came the results for the week ending January 28, 1984, the first chart week reflecting sales after the soundtrack's release. The 'Footloose' soundtrack made an explosive debut, entering the Billboard 200 album chart directly into the Top 5. Landing at #5 immediately was a stunning achievement. While exact sales figures for specific chart positions in 1984 are difficult to pinpoint, debuting that high meant the album sold a substantial number of copies right away, placing it among the country's best-selling records behind only the absolute biggest albums of the era: Michael Jackson's unbeatable #1 'Thriller', The Police's enduring hit 'Synchronicity' (#2), Lionel Richie's massive seller 'Can't Slow Down' (#3), and Culture Club's ubiquitous 'Colour By Numbers' (#4). For a movie soundtrack to achieve this before the film's release was extraordinary proof of massive public anticipation.
At this time (late January 1984), Michael Jackson's Thriller was an unprecedented phenomenon. It was firmly lodged at No. 1 on the Billboard 200, a position it had held for most of the previous year. By January 1984, Thriller had already been certified 20x Platinum by the RIAA (representing 20 million units shipped in the US) just a few months earlier, in October 1983, and its dominance continued unabated. It was the benchmark against which all other album successes were measured.
Simultaneously, the title track, "Footloose", sung by Alex Hayes, surged up the singles chart. On the Billboard Hot 100 chart for that same week ending January 28, 1984, Alex's single reached #3. It was an incredible feat, trailing only the current #1 single, Yes's "Owner of a Lonely Heart," and the rapidly ascending #2 hit, Culture Club's "Karma Chameleon."
The momentum continued to build dramatically in the following week. For the chart week ending February 4, 1984, the 'Footloose' soundtrack climbed even higher to #4 on the Billboard 200 chart, sitting behind only 'Thriller', 'Synchronicity', and 'Can't Slow Down'. Simultaneously, Alex Hayes's rendition of the title track, "Footloose," jumped to #2 on the Billboard Hot 100 chart, now second only to the new #1 song in the country, Culture Club's "Karma Chameleon."
The Footloose soundtrack became a massive success in its own right. Several songs from the album became major hits, entering the Top 40 of the Billboard Hot 100. This included not only the title track but also Deniece Williams' "Let's Hear It for the Boy (#9)", Shalamar's "Dancing in the Sheets," Bonnie Tyler's "Holding Out for a Hero," Alex Hayes' "I'm Free (Heaven Helps the Man)," and Karla Bonoff's "Somebody's Eyes."
Columbia Records' strategy had worked brilliantly. Weeks before 'Footloose' even hit theaters, its soundtrack and lead single were already certified, massive hits, dominating radio airwaves and sales charts. The gamble had paid off, significantly amplifying the already intense buzz and setting the stage for a colossal opening when the film finally premiered on February 10th.
******
The evening of February 9, 1984, crackled with an almost electric energy outside Mann's Chinese Theatre in Los Angeles. Klieg lights crisscrossed the velvet sky, illuminating the throngs of fans pressed against barricades, their excited chatter a dull roar beneath the staccato commands of photographers and the general hubbub of a major Hollywood premiere. Tonight was the night for Footloose.
"Welcome back to Hollywood red carpet LIVE!" chirped Mary Hart, her signature enthusiasm radiating from the makeshift Entertainment Tonight platform. "We are just moments away from the stars of Footloose arriving, but the glamour is already in full swing!" The camera panned to show the arriving limousines. "The film's director, Herbert Ross, has just arrived, looking dapper, and many of the film's young, talented cast members are making their way down the carpet now, soaking in this incredible moment."
The arrivals were a who's who of early 80s Hollywood and industry power. Rick Rosenfield of Creative Artists Agency navigated the press line with a practiced smile. His CAA co-founders, Rowland Perkins and Bill Haber, weren't far behind, clearly pleased with the buzz their client's film was generating. "We're hearing Michael Ovitz, unfortunately, had a last-minute work commitment and couldn't make it, but CAA is certainly well-represented tonight!" Mary commented.
Then, a ripple of excitement. "And look who's here!" Mary announced. "It's Barry Diller, Chairman of Paramount Pictures, and Michael Eisner, President of Paramount. Gentlemen, the studio must be absolutely thrilled with the anticipation for Footloose!" Diller offered a confident wave to the cameras.
A fresh wave of flashes erupted as Robert Downey Jr., a rising young actor, arrived with Sarah Jessica Parker, their arms linked. "And there's Robert Downey Jr. and Sarah Jessica Parker, Hollywood's newest 'it' couple!" Mary narrated. "They just recently went public with their romance a few weeks ago, and they look absolutely stunning together tonight."
The presenter's attention then shifted to a sleek black car pulling up. "Ah, and here they are! This is a pairing many have been eager to see tonight. It's the incredibly talented producer and filmmaker Alex Hayes, arriving with the luminous Diane Lane!"
Mary continued as they stepped out, "Alex Hayes, whose brief but already impactful career has given us some truly memorable films, is looking incredibly sharp tonight. And Diane Lane is simply breathtaking."
Alex Hayes, indeed, cut a striking figure in a impeccably tailored grey Valentino suit. Diane Lane, on his arm, was a vision in a shimmering blue sequin night dress by Versace that caught the light with every movement. The photographers went into a frenzy, their flashes creating a blinding, continuous strobe.
Mary Hart, microphone in hand, deftly made her way towards them. "Alex, Diane, welcome! You both look sensational. That Valentino is classic, Alex, and Diane, that Versace is a showstopper!"
"Thank you, Mary," Alex replied, a polite smile playing on his lips. Diane beamed.
"Alex, the buzz around Footloose is phenomenal. What can audiences expect?" Mary asked.
"Well, Mary," Alex began, his tone even, "like all my films until now, I believe we've made a picture that's, above all, highly enjoyable. It's a film for the audiences, something the whole family, and especially teens, can really connect with and have a great time watching."
"We're hearing fantastic tracking numbers," Mary pressed gently. "Any predictions for the opening weekend box office? The industry is certainly talking big figures."
Alex gave a slight, almost self-deprecating shrug. "All I can really say is that I'm confident people will enjoy the experience. As for the numbers, one never truly knows, but we're certainly hopeful it will connect strongly. I hope it can cross ten million dollars in its opening weekend; that would be a fantastic start."
Diane, ever supportive, leaned into her microphone with a playful smile. "Oh, Mary, Alex is being far too modest! The analysts I've heard from are predicting it will easily cross that ten-million-dollar mark for the weekend, with some even suggesting a range closer to thirteen or fourteen million. The excitement is definitely out there!"
Mary chuckled. "I love the confidence, Diane! Well, Alex, Diane, congratulations on what looks to be a massive hit. All the best tonight, and we hope it's everything you've worked for!"
"Thank you, Mary," they both replied before moving further down the carpet, the roar of the crowd and the flashbulbs following them.
Inside the theatre's grand lobby, the atmosphere was thick with anticipation and the practiced art of Hollywood mingling. Alex Hayes and Diane Lane moved through the crowd, exchanging pleasantries with actors and industry figures. Soon, they found themselves face-to-face with the heads of Paramount Pictures, Barry Diller and Michael Eisner, accompanied by the CAA contingent including Rick Rosenfield, Rowland Perkins, and Bill Haber.
Barry Diller, Paramount's Chairman, stepped forward, his gaze assessing Alex. "Alex, congratulations are certainly in order. The energy around this picture tonight is palpable," Diller began, his tone smooth but with an underlying edge of scrutiny often reserved for newcomers making significant noise. Eisner, Paramount's President, stood beside him, equally watchful. There was an unspoken acknowledgment of Alex's rapid ascent; achieving this status and generating this level of buzz at his relatively young age was impressive.
"We've also been hearing some whispers," Diller continued, lowering his voice slightly, "about your next project. The one you're putting together under your own production banner. Sounds ambitious." He paused, letting the implication hang for a moment. "Naturally, when the time is right, Paramount would be very interested in discussing distribution. We hope we can cooperate again."
Though they are skeptical about Alex's new role as producer Diller and Eisner were keen to ensure Paramount was positioned to profit from Hayes's apparent knack for capturing the mood of the audience, just as they hoped to do with Footloose.
Alex met Diller's direct gaze, understanding the game. "Barry, Michael. Thank you. Yes, the next one is developing well under my company's roof," he confirmed, subtly reinforcing his independence. Since Alex was financing and producing the film himself, Paramount's potential involvement wouldn't be about budget or creative control – that power resided with Alex's own company. The crucial factor was how the film would reach its audience. "And yes, I also hope we can cooperate," Alex added, his tone measured, "if the distribution terms make sense for the project."
The shift in wording was clear. This wasn't about just getting along; it was about the deal. A favorable distribution agreement – Paramount leveraging its massive marketing machine, securing a prime release window, and offering agreeable financial splits – was what Alex needed from a major studio partner. That was the "cooperation" being negotiated beneath the pleasantries.
A brief, knowing silence hung between them before Diller and Eisner offered tight, professional smiles. The initial query had been made, the terms implicitly set. The dance of negotiation had begun.
With nods exchanged, the group, caught in the larger flow of guests, turned and moved towards the theatre doors. The lights in the lobby were dimming further, signaling the imminent start of the Footloose premiere.