Happy 30th Anniversary to The Bodyguard Soundtrack, originally released November 17, 1992.
Being a child of the ‘80s meant that you were inevitably a part of history, whether you wanted to be or not. And if music was your thing, then boy, were you a lucky soul. To have grown up listening to the likes of Joe Cocker, Aretha Franklin and Diana Ross meant that my musical education was cemented in talent, drive and pure artistry. Stories from my parents and Aunts and Uncles of when they saw this artist live and that artist at an airport only encouraged and spurred on my love for music. To then be able to lay claim to observing the emergence of artists that would forever go on to change the face of music is one of the things I am most grateful for in this life.
The ascendance of Whitney Houston—who mesmerized me from the get-go—is a prime example. To not only grow up with her music, but to then witness her career as an actress blossom was remarkable. She was indeed the whole package, and the November 1992 release of The Bodyguard and its accompanying soundtrack—the best-selling soundtrack of all time—offered convincing evidence of her dual talents.
Written by Lawrence Kasdan in 1975, The Bodyguard was originally conceived with Diana Ross and Steve McQueen in mind to play the leads in the film. Although optioned in 1977, it would be another fifteen years before the film was finally made, this time with Houston and Kevin Costner securing the main roles. Stupidly controversial at the time due to the interracial romance formed by Houston and Costner, the film was a box office smash as was the accompanying soundtrack.
Although billed by some as a “various artists” compilation, the soundtrack was home to six of Houston’s songs out of the thirteen tracks featured on the album. Needless to say, the cover of Dolly Parton’s “I Will Always Love You” went on to become a worldwide hit, breaking records and spending 14 weeks at the #1 position on the Billboard Hot 100 singles chart, as well as securing the #1 spot for months in countries like the UK and Australia, amongst others. Records were being smashed left, right and center, and Houston was basking in all of the glory, and rightly so.
With five of Houston’s songs released as singles and the other, “Jesus Loves Me” (with BeBe Winans) getting solid airplay on gospel radio, it’s easy to understand how the album has sold in excess of 45 million copies worldwide. Houston’s cover of Chaka Khan’s anthemic “I’m Every Woman” also topped the charts globally, along with the equally successful power ballads “I Have Nothing” and “Run to You,” but it is the inclusion of two club/disco numbers that quietly stand out on their own.
Watch the Official Videos (Playlist):
“Queen of the Night,” the only song co-written by Houston on the album, is an uptempo rock track that sees her declaring that she is the “Queen of the Night” a.k.a. the club scene. The single soared to the top of the dance charts around the world and garnered strong airplay in the club scene by way of CJ Mackintosh’s many delicious remixes that managed to fill plenty of dance floors.
Although the Houston-dominated first half of the soundtrack was no doubt the draw card for many, the latter half contains a handful of notable moments as well. One of the album’s best tracks that never received its dues, Lisa Stansfield’s “Someday (I’m Coming Back)” was the second single released from the album. Credited as disco/pop, it is much more soulful than this qualifier, with Stansfield dynamically delivering her unique brand of blue-eyed soul with each and every note she masters throughout this beautifully polished and executed song. The saxophone lamenting in and out of the track only adds to its intensity and passion. It’s pure disco soul at its finest.
Elsewhere, tracks like the cover of Bill Withers’ “It’s Gonna Be a Lovely Day” by The S.O.U.L S.Y.S.T.E.M. (featuring RuPaul alumni Michelle Visage) and Curtis Stigers’ interpretation of Elvis Costello’s “(What’s So Funny ‘Bout) Peace, Love and Understanding,” had fleeting moments of success, adding extra depth to an album largely credited to only Houston. Kenny G contributes an instrumental number (“Waiting for You”) and the aforementioned Joe Cocker (with Sass Jordan) add even more soul with “Trust in Me.”
Comprising songs heralded by a production team consisting of such legendary names as Houston herself, along with David Foster, LA Reid, Babyface, Walter Afanasieff, Narada Michael Walden and of course Houston’s mentor Clive Davis amongst others, the soundtrack offers a multitude of different musical visions, but the collective level of excellence nevertheless forms one of music’s greatest achievements.
Largely panned by film critics, The Bodyguard proved to be a commercial triumph, as did its soundtrack, largely due to Houston’s star power and vocal brilliance, as well as the admittedly unimaginative and obvious parallels between Houston’s character in the film and the singer’s real-life persona.
Thirty years on and this album has aged beautifully. The only shame is that Houston is no longer here to celebrate its enduring success. Lucky for the world over, we will always have the music to remind us of her greatness and the power of music to inspire.
LISTEN: