Outside of the context of the drop-dead-gorgeous “Sex and the City” film, the soundtrack would be little more than a collection of pink disco thumpers and understated ballads – another run-of-the-mill compilation album assembled to make a few quick bucks. When paired with the film, however, the songs emerge as a 55-minute party of joy and pain that’s as guilty a pleasure as the iconic franchise. Like the film – which, as a testament to the power of the girls and the gays, whooped Indiana Jones’ ass with a whopping $55.7 million at the box office this weekend – the tunes are as colorful as the designer dresses donned by the glamourzons who filled theater seats across the country to spend an evening with TV’s favorite urban socialites.
A big-city-cool jaunt of an album, the soundtrack is liveliest and most interesting as the dance material takes hold. I’m not the biggest fan of electronic music, but the best two cuts on the album fall into that mold: “I Like the Way” is a detached, ultra-hip jam from the creative mind of Chicago-born DJ and producer Kaskade, one of those club cuts that is atmospheric in its minimalist glory. In a similar mold is Nina Simone’s “The Look of Love,” which is served up here in the “Madison Park vs. Lenny B Remix.” The classy house groove props itself up nicely against the wall of sound that is Simone’s voice, making for an interesting spin on an oft-covered standard. The songs are sinewy blends of piano, vibes, synths and icy vocals that manage to evoke warmth absent from a great deal of the electronic music that propels dance floors into the stratosphere. Elsewhere, Morningwood and The Weepies rock a little on “New York Girls” and “All This Beauty” respectively, bringing an earthy foil to the urban slant of the up-temp material.
No well-oiled chick flick can function without some good love songs, and the ones here will surely please the amorous. Bliss’ lovely “Kissing” and The Bird and the Bee’s cover of The Bee Gees’ “How Deep is Your Love” are pure delights, while the always captivating India.Arie is at her best on “The Heart of the Matter.” The greatest one in the bunch, however, is a faithful interpretation of “Auld Lang Syne,” offered up by Mairi Campbell and Dave Francis. I won’t spoil the plot, but I will say it punctuates the lonely New Year’s Eve of two of the movie’s principal characters amazingly. The beautifully rendered song elevates the scene to a level of poignancy that would surprise those who think the movie possesses little to no redeeming value. For a moment, the song transforms from a cherished favorite to a slice of sonic narration.
For all its strong points, the crazy thing about the soundtrack is that the two most ballyhooed moments are the least memorable. I have to say upfront that Fergie annoys the shit out of me, so that may be part of the reason I’m not feeling “Labels or Love.” Imagined as a pop-song variation of the show’s classic theme song, it just doesn’t seem to work. If I want to hear something as irritating as “My Humps,” I’ll borrow somebody’s Black Eyed Peas CD. And the movie’s closing workout, the pleasant but ordinary “All Dressed in Love” finds Jennifer Hudson doing her damndest to bring life to what is a borderline lifeless song. A set of pipes as powerful as Hudson’s – and the ending of a film of this magnitude for that matter – deserves a better last hurrah. Still, J-Hud gives it all she’s got and the girl deserves her props.
All in all, the soundtrack for “Sex and the City” is just good, fashion-forward fun. It’s not the music from “Shaft,” “Superfly” or “The Graduate,” but it has a charm all its own. There’s enough energy here to fuel any night out on the town, cosmos and all. The spirit of Carrie, Samantha, Miranda and Charlotte definitely radiates from these ditties.
I so can’t wait for volume two.