![]() ![]() Used output format : User Defined EncoderĬommand line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.exeĪdditional command line options : -8 -A tukey(0.25) -A gauss(0.1875) -b 4096 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s -sector-align Used interface : Native Win32 interface for Win NT & 2000 Null samples used in CRC calculations : Yes Used drive : PIONEER DVD-RW DVR-216D Adapter: 1 ID: 0įill up missing offset samples with silence : Yesĭelete leading and trailing silent blocks : No Various Artists / Rocky: Original Motion Picture Score Without McKee, Sparkle becomes a little too light for its own good. McKee's sad eyes and nicely rendered tough-girl stance carry with them a kind of authentic emotional gravitas. Indeed, had Lonette McKee been given the opportunity to be the kind of dominant presence in the film as she is in the lives of her sisters, I think the audience would have found itself mourning her absence along with the characters on the screen. A more intuitive director than Sam O'Steen (editor of Rosemary's Baby, making his feature film directorialĭebut) might have sensed how strongly the prolonged absence of the film's mostĭimensional and dynamic character would have on Sparkle's overall impact. Good that the temperature of the film drops several degrees for every minute that (for "Flashdance…what a Feeling"), it's Lonette McKee who gives my favorite Star in later years as actress, recording artist, and Academy Award-winning songwriter Studio, the financial prospects of an Aretha Franklin album must have appearedĪ great deal more lucrative than that of a soundtrack album to a modest filmĮxclusive Motown choreographer whose routines for musical acts like The Supremes and The Temptations were the inspiration for Lester Wilson's work in SparkleĪlthough the delectably fresh-faced Irene Cara emerged the bigger The film's cast interpretation of the songs, one has to imagine that, to the Although I've read conflictingĪccounts over the years as to the whys of this decision, and while I personally prefer The songs, as sung by the film's cast, are all so well-performed that there was an outcry from fans when the soundtrackĪretha Franklin taking over the vocals exclusively. Staple of girl-group performances for years. ![]() The stylized, often witty, gesture/posing dance style that became an identifying Riffs on the early R&B/Soul sound of Motown, while Wilson's choreography captures Mayfield's songs are pop/funk, '70s-style Self-effacing Sparkle Williams (Irene Cara)…i.e., the obvious heroine of theĪs a fan of musicals, Sparkle's primary appeal for me has always been Curtis Mayfield's catchy musical score and the sleek, '60s girl-group choreography of Lester Wilson. Self-assured, and headed-for-certain-trouble Sister Williams (Lonette McKee), one-third of the gospel-singing Williams sisters, consisting of woke, budding Black-Power radical, Delores Williams (Dwan Smith) and sweet-natured, "I want the big time!" conveniently asserts beautiful, Sparkle is a '50s girl group take on the oft-told show-biz saga of gifted performers from humbleīeginnings who discover, only too late, that the road to fame is paved with The beginnings of the Civil Rights Movement. And the songs prefigure the emergent voices of inner-city youth and ![]() Seedy R&B/soul circuit pay homage to the Black roots of rock The small-time show-biz milieu of Harlem jazz clubs and the They represent as conflicting symbols of Black upward mobility andĬrossover success. The girl-group plotline evokes The Supremes and all
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