The original motion picture soundtrack to
Sparkle: Original Motion Picture Soundtrack precedes the film, set to be released to theaters August 17. Executively produced by Debra Martin Chase, Salim Akil, Mara Brock and T.D. Jakes, Sparkle contains eleven songs. Songs include classics penned by Curtis Mayfield as well as originals by R. Kelly, Andrew Wansel, and Cee Lo Green (Thomas Callaway). The best numbers from Sparkle are R. Kelly's cuts, which allow their respective vocalist (Jordin Sparks) to shine at her best. The soundtrack is a mixed-bag, with some of the strongest cuts tacked on towards the end.
"I'm A Man," performed and co-written by Cee Lo Green, opens the album solidly enough, but doesn't possess the same magical zest as Cee Lo's best songs. The 1960s style soul sound is a highlight, though the cut never quite makes it past the hump of feeling like a `soundtrack' cut as opposed to feeling like a genuine soul entity aside from a compilation. That may sound trivial, but put "I'm A Man" aside Cee Lo's "I'm Old Fashioned" and the differences are clear.
"Yes I Do," performed by Carmen Ejoga and produced by Oak, continues the retro-soulful vibe of "I'm A Man." Ejoga's vocals are a playful and casual, not unlike the Supremes of the 60's-70s, but still the listener is longing for her to evoke more grit and bite. Finally towards the end Ejoga stops `cooing' and tries to emote more soul-laden nuance, but it is a `little bit too late.'
"Running," performed by Goapele and penned/produced by Chuck Harmony and Claude Kelly works relatively well. Goapele achieves a more notable vocal performance than Carmen Ejoga on the previous cut, not to mention the sound production work with pummeling drums, horns, and organ. The tag line "Running, running, and running, running" takes one back to The Black Eyed Peas's "Let's Get It Started" - I'm just saying.
"Jump," performed by Carmen Ejoga, Tika Sumpter and Jordin Sparks is the first of a couple of Curtis Mayfield penned cuts. Produced by Pop & Wansel, the resulting sound is one that is a light, clean update of Mayfield. It lacks the funk of the blaxploitation proponent, but it is executed well enough. The use of background vocals as support is a nice feature if nothing else is.
"Hooked On Your Love," also penned by Mayfield and produced by Wansel, is solid and smooth in sound. Soul is evoked well throughout, though sometimes the lead vocals are too much `smoke' with not enough `bite.' That said, if the comparison is The Supremes, then the trio are rock-solid. One of the lengthier showings on this brisk soundtrack at over 4:00, the extended horn and bass instrumental work is a highlight.
"Something He Can Feel" is the first R. Kelly production, even if it comes by way of Curtis Mayfield's songwriting. With a "Your Precious Love" quote to open, one can sense "Something He Can Feel" has a more authentic, natural feel than some of the other productions. David Huff provides superb horn arrangements, adding to the bluesy sound cultivated. Smooth and sophisticated, "Something He Can Feel" is nothing incredibly new, but is none too shabby either.
"His Eye Is On The Sparrow" is one of only two Whitney Houston cuts, which may come as a disappointment to fans searching for that posthumously released album. In decorated traditional gospel style, the cut (produced by The Underdogs) opens with keyboard accentuated with swirls of organ, performed by Kenneth Crouch. Houston performs the track solidly considering the vocal limitations of her later career, but listening makes you hearken back to `if this was vintage Whitney, she would've have slaughtered this song.' The addition of Voices of Praise towards the end is a sound touch, one that listeners wished had entered a couple of seconds earlier and last at least a couple of seconds longer.
"Look Into Your Heart" is Jordin Spark's first solo venture on the album, finding her covering Curtis Mayfield. The cut is just ok; it doesn't quite suit Sparks's vocal sensibilities and feels forced. Thankfully, Sparks redeems herself on an R. Kelly original that is arguably the best of the album in "One Wing." "One Wing" feels natural on Sparks, who has a superb voice and vocal range. With a gospel feel combined with hip-hop rhythmic sensibility, "One Wing" is modern enough while retaining the classic. With excellent utilization of choir, "One Wing" is a step in the right direction for the soundtrack.
"Love Will" keeps up Jordin's pace as R. Kelly keeps atoning for any earlier miscues from Sparkle. The other Whitney feature, a duet with Sparks, "Celebrate," which keeps Kelly on the payroll ends the album solidly. While not initially a fan of the duet when it was released as a single, it grows on you and does give Houston enthusiasts a posthumous cut to add to their collection. If nothing else, it is well produced.
Overall,
Sparkle: Original Motion Picture Soundtrack has some triumphant moments while others are just, `eh.' It will undoubtedly be compared to the
Dreamgirls: Music From The Motion Picture [2-CD Deluxe Edition] soundtrack, which it can not hope to compete with; that soundtrack was stellar and better conceived. If you enjoy soul and gospel music, you will enjoy this soundtrack, particularly R. Kelly's contributions.