The brass, piano, and strings are all there, but further back in the mix. It’s similar, but it doesn’t glisten the way Aretha’s version does, relying more heavily on acoustic guitar and shaker in the forefront. It’s fascinating to listen to how he rearranges elements of the song, while maintaining others. And it’s Aretha, not her sister Carolyn who Curtis approached first to record the LP, nor Irene Cara and the other actresses in ‘Sparkle’ the film, who could have pulled off such a feat.Īs I researched, I was surprised to learn that Curtis also gave his own reading of “Sparkle” the following year on 1977’s Never Say You Can’t Survive. Sparkle is Aretha’s only post-1974 LP on Atlantic Records to be available on CD, digital, and streaming. The two albums released before, and three released after have never been reissued. Sparkle arrived in the midst of Aretha’s dry spell, despite being in some of her best voice in her career, the material aside from Sparkle didn’t match that. “You can believe,” she continues, “this love in me, as I believe in you.” Her surges of power are staggering, and her control is “Understand, there will be no other man but you baby” she reassures. A troupe of background singers provide Aretha the reinforcement she needs to convey her message. Aretha begins her performance subdued and quickly crescendos to demonstrate her vocal prowess (superiority, dominance, power). But of course, what makes “Sparkle” truly glisten is Aretha and that vocal performance. The piano adds a nostalgic layer that harkens back to Aretha’s early Atlantic recordings. The brass and bass accentuate the moments of vocal staccato, while the horns and the strings beautifully compliment each other. What gives “Sparkle” it’s shine is funk, soul, brass, strings, and a glittering piano part (the piano could be Aretha, but all of the players on Sparkle remain unknown). The background vocals pale in comparison to Aretha’s, and the instrumentation isn’t quite as soulful, but the core the song and chord progressions echo the sentiments and shimmering vibe of “Sparkle.” The string arrangements on The Staple Singers’ 1975 “Let’s Do It Again”, written and produced by Curtis are also reminiscent of “Sparkle.” “PS I Love You” from 1976’s Give, Get, Take And Have has some similar elements to Sparkle’s title cut. Written by Curtis Mayfield, who composed and produced the entire LP, “Sparkle” aligns with Curtis’ other musical explorations around that time. The title track and opening cut to Aretha’s relief from late 70’s slump, “Sparkle” sets the tone for the short yet sweet body of work that followed. And truly, she’d feel even better after Sparkle hit record store shelves in 1976. It, indeed, is the last curtain call of a legendary singer.“I sparkle, loving the way that I do, it is true, I feel so good,” Aretha Franklin declares in front of glittering piano keys, sweet strings, over what is now a classic production from Curtis Mayfield. As strained as her singing in “Sparrow” might be, the local preview audience contributed applause at its end. Houston’s presence lends the superficial film a poignant and sad note that it otherwise doesn’t deserve. She has a fine scene in which she cautions her girls to avoid the pitfalls of a show business that has all but ruined her character’s life. In “Sparkle,” she plays a tough, religiously infatuated mother, who, conveniently, owns a women’s fashion shop which allows her to wear sumptuous clothes. From all indications, she wouldn’t have wanted that. Acting-wise, though, Houston is better than anyone would have anticipated from her work in “The Bodyguard” or the lackluster “Preacher’s Wife.” If she had wanted, she could have become a serviceable character actress. It is sad, as her strained voice could no longer make the high notes. Houston’s musical number, “His Eye Is on the Sparrow,” doesn’t help. It is at this point that it turns from music to melodrama.Īny original musical, though, is in trouble if its best musical moments are an off-screen sound from Aretha Franklin and a recorded background of Nina Simone doing “Feeling Good.” E-Pilot Evening Edition Home Page Close Menu
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