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The Bodyguard (soundtrack)

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The Bodyguard: Original Soundtrack Album
Soundtrack album by
Whitney Houston / various artists
ReleasedNovember 17, 1992
Recorded1991–1992
1987 for Joe Cocker's song
Genre
Length57:44
Label
Producer
Whitney Houston chronology
I'm Your Baby Tonight
(1990) 		The Bodyguard: Original Soundtrack Album
(1992) 		The Preacher's Wife: Original Soundtrack Album
(1996)
Singles from The Bodyguard
  1. "I Will Always Love You"
    Released: November 2, 1992[4]
  2. "Someday (I'm Coming Back)"
    Released: December 7, 1992
  3. "I'm Every Woman"
    Released: January 2, 1993
  4. "I Have Nothing"
    Released: February 20, 1993
  5. "Run to You"
    Released: June 21, 1993
  6. "Queen of the Night"
    Released: October 13, 1993 (U.K.)
Professional ratings
Initial reviews (in 1992/1993)
Review scores
SourceRating
Entertainment WeeklyB[5]
Los Angeles Times[1]
NME4/10[6]
New York Times(favorable)[7]
Orlando Sentinel[8]
Q[9]
Select[10]
USA Today[11]
Professional ratings
Retrospective reviews (after 1992/1993)
Review scores
SourceRating
AllMusic[2]
Rolling Stone[12]
The Rolling Stone Album Guide[13]

The Bodyguard: Original Soundtrack Album is the first soundtrack album by American singer Whitney Houston. It was released on November 17, 1992 by Arista Records to promote the film of the same name. It also contains songs by her label mates Lisa Stansfield, Kenny G, The S.O.U.L. S.Y.S.T.E.M. and Curtis Stigers as well as artists such as Aaron Neville and Joe Cocker. The album is credited as a Whitney Houston album despite her performing six of the twelve tracks. The Bodyguard was Houston's first box office film, after turning down offers from film producers such as Robert Townsend, Spike Lee and Robert De Niro in the past. Initially, Houston was reluctant to take on the role and was convinced by co-producer and co-star Kevin Costner to take the leading role. Arista Records president Clive Davis had apprehensions of Houston's role in the film without much music from the script. Davis only agreed once he learned that Houston and the film's distributor Warner Bros Pictures had made a deal in which Houston would earn royalties from the film's soundtrack and agreed to record six tracks, four of which was eventually featured in the film.

Houston began working on the soundtrack in November 1991, and contacted previous producers of her work, including Babyface, Antonio "L.A." Reid, BeBe Winans and Narada Michael Walden, to participate in the album. It also marked the first time Houston worked with renowned producer David Foster, who would produce three of the six Houston tracks, as well as the production duo of Clivillés and Cole, while Houston herself co-produced two of the songs. It marked the first time in Houston's career where Clive Davis didn't handpick the material. After hearing five of the songs, Houston convinced Davis to add additional songs by other artists on the Arista label. Both Houston and Davis were listed as executive producers on the album.[14]

Upon its release in November 1992, The Bodyguard was praised by music critics for Houston's vocal performance and its production. The album was a global success, topping the charts in 21 countries, including the United States, the United Kingdom, Australia, Canada, New Zealand, Germany, Austria, Belgium, France, Italy and Japan as well as the European album chart. In the United States, the album debuted at number two on the Billboard 200, before climbing to number one in its second week of release, remaining there for 20 non-consecutive weeks, making it the first female album to top the charts for that many weeks and held a nineteen-year chart record for being the album to stay at number one for the most weeks by a female album until Adele's 21, broke the record in 2012. In its sixth week, it sold one million copies within a single week, making Houston the first artist to accomplish this following verification by Nielsen SoundScan. It would continue to sell a million copies per week for several weeks in a row and would eventually be certified Diamond by the Recording Industry Association of America for sales of ten million copies in November 1993, becoming the first female album to sell that many copies in the United States and would be one of three Houston albums to receive that milestone, eventually selling 18 million in the country alone.[15][16] Overall, the album would eventually sell 45 million copies, becoming the best-selling soundtrack album ever, the best-selling album by a woman in music history and the best-selling album of the decade.[17] It is the best-selling soundtrack album of all time, the best-selling album by a woman in music history, and the best-selling album of the decade.[18]

The soundtrack resulted in several awards and accolades for Houston, including seven American Music Awards, a Brit Award, a Juno Award and the Grammy Award for Album of the Year, marking only the second time in Grammy history that an African American woman won the Grammy in that category.[19] Two of the tracks on the soundtrack, "Run to You" and "I Have Nothing" were each nominated for an Academy Award for Best Original Song, while Houston herself won the MTV Movie Award for Best Song for the soundtrack's leading single and its biggest hit, "I Will Always Love You".

Five of the Houston tracks were released as singles. "I Will Always Love You" became Houston's tenth number one single on the Billboard Hot 100, matching the number for most number one singles by a female artist at the time and eventually topped the charts in 34 countries entirely and went on to sell more than 24 million copies worldwide, becoming the best-selling single by a female artist of all time. "I'm Every Woman" was released as the second single and became another international top ten hit and peaked inside the top five of the Billboard Hot 100, as did its third single, "I Have Nothing". In March 1993, the three aforementioned singles were placed inside the top 11 for two consecutive weeks, marking the first time in the Nielsen SoundScan era that an artist had three singles simultaneously chart at the same time. "Run to You" was the fourth single released from the album and became a modest hit globally, reaching the top 40 in the United States and the top 20 in the United Kingdom. "Queen of the Night" was a European market only release and reached the top 20 in the United Kingdom while a dance remix of the song topped the Billboard dance chart. In Europe, the only non-Houston single to be released was Lisa Stansfield's "Someday (I'm Coming Back)", while in the United States and Canada, the dance group, The S.O.U.L. S.Y.S.T.E.M., released their cover of Bill Withers' "Lovely Day", which was retitled "It's Going to Be a Lovely Day". The Bodyguard received further promotion from the successful Bodyguard World Tour. In 2017, a 25th anniversary re-release, I Wish You Love: More from The Bodyguard, was issued.[20][21][14]

Background

[edit]

By the late summer of 1990, Houston had become a commercially successful recording artist. Her first two albums, Whitney Houston and Whitney, sold 25 and 23 million copies worldwide respectively. Houston was planning on releasing her third album, I'm Your Baby Tonight, when Houston received a call from actor Kevin Costner to accept a leading role in a film titled The Bodyguard. Back in December 1986, Billboard magazine, in its cover story on Houston following her landmark accomplishments that year, had mentioned that Houston would take part in the film, only with Clint Eastwood as the co-lead. Costner convinced Silverado director and friend Lawrence Kasdan to let him be a co-producer for the project. Kasdan had originally written the script for the film back in 1975 and after his script was sold off to Warner Bros. Pictures, the film had originally been pegged as a project for Diana Ross and Steve McQueen in 1977, but both actors had backed off when neither actor could agree on who deserved top billing.

Two years later, in 1979, Ross rejoined the project after Warner brought in Ryan O'Neal to the project, only for the film to return to development hell a year later. Following Houston's rise, she had been sought after for film roles by the likes of Robert Townsend, Spike Lee and Robert De Niro. It's claimed Costner was convinced Houston was right for the role after viewing her concert at the Assembly Hall in Champaign, Illinois in September 1987. Still, it took three years before Houston was contacted for the film. When Costner finally reached Houston, the singer, who had only took brief acting cameos on television shows such as Silver Spoons, was reluctant but agreed to read the script. Houston held off on the film until Costner convinced her in another phone call that he will "look after her".

The film's other producers initially were unsure of Houston's chances of leading a film, especially after the release of I'm Your Baby Tonight and, according to Costner, suggested veteran actresses such as Michelle Pfeiffer or Kim Basinger, to which Costner flatly turned down. They then agreed to give Houston a screen test in January 1991, to which she passed. In April 1991, Houston and Costner announced that they would co-star in The Bodyguard. Costner delayed production on the film until Houston finished her world tour that year until it was announced that principal photography would begin in late November 1991.

Recording

[edit]

Prior to shooting the film, Arista Records CEO Clive Davis wasn't sure about the film that, at the time, had little music attached to it and didn't understand why Houston's character, Rachel Marron, "needed a bodyguard" due to the lack of music. Davis admitted he was "nervous". After reading the initial script, Davis wrote a letter to Costner and the film's director Mick Jackson, arguing to them that the film "is nowhere near fulfilling the potential of what Whitney could contribute to the role". Davis learned after sending the letter that Houston had agreed to record at least six songs for the album, five of the songs that Houston eventually picked happened after discussions with Costner and the film's musical supervisor Maureen Crowe.

Two weeks before filming commenced, Houston began working on the album. According to session dates, the first song to be recorded was the rock song "Queen of the Night", to which Houston played a part in composing after the song's original writers Kenneth "Babyface" Edmonds and Daryl Simmons struggled to compose the song themselves. Longtime composer Antonio "L.A." Reid became a fourth contributor to the composition. Houston recorded the song on November 9, 1991. The guitar solo was famously played by Living Colour lead guitarist Vernon Reid. It was Houston's second composition as a songwriter. Three days later, on November 12, with Foster, Houston, then recovering from a cold, recorded the songs, "Run to You" and "I Have Nothing". After filming much of the film and participating in other events, Houston returned to the recording studio during January-February 1992 to record and produce a pop-oriented rendition of the old gospel hymn, "Jesus Loves Me" with BeBe Winans as co-producer.

Initially, producers settled on Houston recording the old Motown standard, "What Becomes of the Brokenhearted", until they learned it had been recorded for the film, Fried Green Tomatoes by Paul Young. Eventually, they all agreed to record "I Will Always Love You", originally released by country artist Dolly Parton. In the version, Houston was inspired to record was Linda Ronstadt's version. When Parton heard they were gonna cover the song, the singer-songwriter called producer David Foster and advised them to use the third verse omitted in Ronstadt's rendition. After first performing the song live at a Los Angeles soundstage during the final shoots of the film in March 1992, the recording took place a month later on April 22 at Ocean Way Recording Studios.[22] For the song, Houston decided to use members of her own band, including saxophonist Kirk Whalum, who provided the famous saxophone solo.[23] The final Houston song to be recorded, "I'm Every Woman", was recorded at producer Narada Michael Walden's Tarpan Studios in San Rafael, California on August 19, 1992.[24][25][26][27][28][29][30]

Music

[edit]

The album's first half features six[31] pop songs performed by Houston.[1] Houston's cover of Dolly Parton's plaintive country ballad "I Will Always Love You" is a grand pop-gospel declaration of lasting devotion to a departing lover. "I Have Nothing" and "Run to You" are ballads featuring Houston's characteristic stentorian delivery, and both received Oscar nominations.[32] "Jesus Loves Me" is sung with Bebe Winans and features a pop arrangement.[7]

AllMusic editor Stephen Thomas Erlewine views that the first half is characterized by urban pop songs similar to I'm Your Baby Tonight (1990), while the second half has miscellaneous tracks more "typical of a big-budget soundtrack", including an excerpt from Alan Silvestri's score, instrumentals by Kenny G, and contemporary pop and dance songs.[2] "Someday (I'm Coming Back)", performed by Lisa Stansfield, is an intense pop-disco song.[7]

Singles

[edit]

The album is most notable for Houston's version of "I Will Always Love You", written by Dolly Parton. The song received wide airplay, appealing to the pop, R&B, adult contemporary, and soul radio markets. The single spent 14 weeks at number one on the Billboard Hot 100 singles chart.[33] "I Will Always Love You" was successful worldwide, peaking at number one for 14 weeks in New Zealand, 10 weeks in the UK and Australia, 9 weeks in Norway, 8 weeks in France and Switzerland, 6 weeks in the Netherlands, and 3 weeks in Sweden.[34][35][36][37][38][39][40][41]

With the next two Top 5 singles[42] "I'm Every Woman" (originally a Chaka Khan hit) and "I Have Nothing", following on the heels of "I Will Always Love You", Houston became the first female act to have three songs in the Top 20 simultaneously. Two songs, "Run to You" and "I Have Nothing", were each nominated for the Academy Award for Best Original Song,[43] but lost out to "A Whole New World" from the animated film Aladdin. The same two songs were nominated for Grammy Awards in the category Best Song Written Specifically for a Motion Picture or for Television. Other songs garnering significant radio airplay included "Jesus Loves Me" on gospel stations, and "Queen of the Night" on pop and dance stations.

Commercial performance

[edit]

The Bodyguard debuted at number two on the Billboard 200 chart and the Billboard Top R&B/Hip-Hop Albums chart, behind Ice Cube's The Predator, selling 144,500 copies in its first week.[44][45] In its second week, the album topped both of the charts, with sales of 292,000 units.[46][47][48] While the album stayed the summit on the charts, it broke the record for the most one-week sales twice. In its fifth week, it sold 831,000 copies, breaking the old sales record of 770,000 set by Guns N' Roses' Use Your Illusion II in the fall of 1991.[49] The following week, the album once again set a record for the most albums sold in a single week, since the Nielsen SoundScan introduced a computerized sales monitoring system in May 1991; when it sold 1,061,000 copies, making it the first album to sell over 1 million copies in one week since tracking began.[50][51][52] The soundtrack stayed at number one for 20 cumulative weeks on the Billboard 200 chart (including 13 consecutive weeks), and spent eight consecutive weeks atop the Top R&B Albums chart, remaining on the charts for a total of 141 weeks and 122 weeks, respectively.[53][54][55] The album held the record for the most weeks at number one, and the record for the most cumulative chart-topping weeks on the Billboard 200 chart in the Nielsen SoundScan era[56] until 2012 when it was overtaken by Adele's 21 which spent 24 cumulative weeks at the summit. Both albums remain the only female albums in the history of the Billboard 200 to accumulate 20 or more weeks at number one. The album continues to hold the record as the second female album with the most consecutive weeks at the summit, surpassed only by Carole King's Tapestry with 15 weeks. Houston is the only female artist to have two or more albums spend ten consecutive weeks at number one on the Billboard 200.

The Bodyguard soundtrack was ranked #1 in the 1993 Billboard year-end charts, on the Top Billboard 200 Album and Top R&B/Hip-Hop Album.[57] In addition, the album was the first in Nielsen SoundScan history to rank among the top three albums in two consecutive years (#3 for 1992, #1 for 1993), and the best-selling soundtrack by the National Association of Recording Merchandisers (NARM) in 1993–1994.[58][59] When the soundtrack to The Bodyguard was credited as a Whitney Houston album in Billboard's archives, she became the only artist with three albums to remain on top of the Billboard 200 chart for over ten weeksㅡWhitney Houston (14 weeks), Whitney (11 weeks) and The Bodyguard (20 weeks). Houston also broke the record for the most cumulative weeks at number one by a female artist with 46 cumulative weeks until Taylor Swift surpassed it on 2020 with her album "Folklore".[60]

The album received the largest initial certification of any album for 6× platinum by the Recording Industry Association of America (RIAA) on January 18, 1993.[61] The record was broken by 'N SYNC's No Strings Attached, certified 7× Platinum initially in April 2000.[62] On March 16, 1999, when the RIAA launched the Diamond Awards, honoring sales of 10 million copies or more of an album or single, the album received the award with 62 other albums initially.[63][64] It was certified 17× Platinum by the RIAA on November 1, 1999, becoming the best-selling soundtrack album of all-time in United States.[65][66][67] According to a new update from Whitney Houston's estate, particularly, Arista, The Bodyguard soundtrack has been certified 18× Platinum by RIAA in November 2017. It is the first album to reach both the 10 million and 11 million sales mark in the US since 1991, when Nielsen SoundScan started tracking music sales.[68] As of late 2014, it had sold 12,140,000 copies; it is the sixth best-selling album of the SoundScan era in the United States.[69]

In 1992–1993, with the international success of the film The Bodyguard, the soundtrack was also a hit worldwide.[70] It topped the albums chart in Australia for five weeks,[71] Austria for nine weeks,[72] Canada for 12 weeks,[73] France for eight weeks, Germany for 11 weeks,[74] Hungary for two weeks,[75] Italy for two weeks, Japan for two weeks,[76] Netherlands for six weeks,[77] New Zealand for eight weeks,[78] Norway for six weeks,[79] Sweden for four weeks[80] and Switzerland for nine weeks.[81] In the United Kingdom, the album didn't chart on the main albums chart because compilation albums were excluded from the main albums chart from January 1989.[82] Instead, the album reached the top on the official compilation albums chart and stayed there for 11 weeks, spending 60 non-consecutive weeks in the top 10 and for a total of 107 weeks on the chart. Through its massive success across Europe, it topped the European Top 100 Albums chart for 15 non-consecutive weeks.[83] In the UK, the album was certified 7× platinum by the British Phonographic Industry (BPI) on January 1, 1994,[84] and has sold 2,255,000 copies, landing at number sixty on the list of UK's 100 best-selling albums of all time.[85] In Japan, it was certified 2× million by the Recording Industry Association of Japan (RIAJ) in 1994, the first time a foreign artist achieved that feat in Japanese music history, and eventually became the best-selling foreign album with 2.8 million copies sold.[86][87] The record was later broken by Mariah Carey's #1's, certified 3× million in 1998.[87] In Germany, the album has sold more than 1.7 million, earning 3× platinum awards by the Bundesverband Musikindustrie (BVMI).[88][89] In addition, it was awarded Diamond for the sales of over 1 million in both France and Canada.[90][91] It was certified 3× platinum in Brazil, becoming one of the best-selling international album by a female artist and set a record for the best-selling foreign album with the sales of 1.2 million over in South Korea.[92][93][94] In Australia, it became the best selling album of 1993.[95] In Mexico, the soundtrack sold more than 500,000 copies, making it the best-selling English-language record in 1994.[96] To date, the album has sold 45 million copies worldwide, making it the best-selling soundtrack of all time.[18]

I Wish You Love: More from The Bodyguard

[edit]
Main article: I Wish You Love: More from The Bodyguard

I Wish You Love: More from the Bodyguard is the 25th anniversary reissue of the album, released by Legacy Recordings on November 17, 2017. The album was released to commemorate the 25th anniversary of the movie, The Bodyguard, which marked Houston's film debut.[97] It includes the film versions of her six Bodyguard contributions – "I Will Always Love You", "I Have Nothing", "I'm Every Woman", "Run to You", "Queen of the Night" and "Jesus Loves Me" – as well as remixes and live performances of the songs from subsequent tours.[97] The album's release coincided with a tribute to Houston and the music of The Bodyguard at the American Music Awards on November 19 on ABC as performed by Christina Aguilera.[97] Ahead of the performance, Aguilera wrote on Instagram, “I am excited, honored and humbled to perform a tribute to one of my idols.”[98]

Track listing

[edit]

All songs performed by Whitney Houston, except where noted.

The Bodyguard – Standard edition
No.TitleWriter(s)Producer(s)Length
1."I Will Always Love You"Dolly PartonDavid Foster4:31
2."I Have Nothing"
Foster4:49
3."I'm Every Woman"
4:45
4."Run to You"
  • Allan Rich
  • Jud Friedman
Foster4:24
5."Queen of the Night"
  • L.A. Reid
  • Babyface
3:08
6."Jesus Loves Me"
5:12
7."Even If My Heart Would Break" (Kenny G and Aaron Neville)
4:58
8."Someday (I'm Coming Back)" (Lisa Stansfield)
  • Andy Morris
  • Ian Devaney
4:57
9."It's Gonna Be a Lovely Day" (The S.O.U.L. S.Y.S.T.E.M. featuring Michelle Visage)
  • Clivillés
  • Cole
  • Ricky Crespo
4:47
10."(What's So Funny 'Bout) Peace, Love, and Understanding" (Curtis Stigers)Nick LoweDanny Kortchmar4:04
11."Waiting for You" (Kenny G)Kenny GKenny G4:58
12."Trust in Me" (Joe Cocker featuring Sass Jordan)
Charlie Midnight4:12
13."Theme from The Bodyguard" (Alan Silvestri)Alan SilvestriAlan Silvestri2:40
Total length:57:44
The Bodyguard – German special edition (bonus tracks)
No.TitleWriter(s)Producer(s)Length
14."I'm Every Woman" (Clivillés & Cole House Mix)
  • Nickolas Ashford
  • Valerie Simpson
  • Walden
  • Clivillés
  • Cole
10:37
15."Queen of the Night" (CJ's Master Mix)
  • Antonio "L.A. Reid"
  • Kenneth "Babyface" Edmonds
  • Daryl Simmons
  • Houston
  • Reid
  • Babyface
6:35
Total length:74:56

Notes

  • On the US edition, Kenny G's "Waiting for You" was not included, with Alan Silvestri's "Theme from The Bodyguard" appearing in its track place (before Joe Cocker feat. Sass Jordan's "Trust in Me")

Personnel

[edit]

Charts

[edit]

Certifications and sales

[edit]
Region Certification Certified units/sales
Argentina (CAPIF)[172] 4× Platinum 240,000^
Australia (ARIA)[173] 5× Platinum 350,000^
Austria (IFPI Austria)[174] 4× Platinum 200,000*
Belgium (BEA)[175] 4× Platinum 200,000*
Brazil (Pro-Música Brasil)[92] 3× Platinum 750,000*
Canada (Music Canada)[91] Diamond 1,000,000^
Chile — 100,000[176]
Denmark (IFPI Danmark)[177] 2× Platinum 160,000^
Finland (Musiikkituottajat)[178] Platinum 56,486[178]
France (SNEP)[90] Diamond 1,300,000[179]
Germany (BVMI)[181] 3× Platinum 1,700,000[180]
Indonesia — 320,000[182]
Italy
1992-1999 sales 		— 1,000,000[183]
Italy (FIMI)[184]
sales since 2009 		Gold 25,000‡
Japan (RIAJ)[186] 2× Million 2,800,000[185]
Mexico — 500,000[96]
Netherlands (NVPI)[188] Platinum 600,000[187]
New Zealand (RMNZ)[189] Platinum 15,000^
Norway (IFPI Norway)[190] 4× Platinum 200,000*
Poland (ZPAV)[191] Gold 50,000*
South Africa — 110,000[192]
South Korea — 1,200,000[93][94]
Spain (PROMUSICAE)[193] 6× Platinum 600,000^
Sweden (GLF)[194] Platinum 343,000[182]
Switzerland (IFPI Switzerland)[195] 5× Platinum 250,000^
Taiwan — 305,000[182]
United Kingdom (BPI)[196] 7× Platinum 2,255,000[85]
United States (RIAA)[197] 18× Platinum 18,000,000‡
Summaries
Europe (Music & Media) — 7,000,000[198]
Worldwide — 45,000,000[18]

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

See also

[edit]

References

[edit]
  1. ^ a b c Chris Willman (November 22, 1992). "Record Rack: The Bodyguard Original Soundtrack Album". Los Angeles Times. Retrieved September 1, 2010.
  2. ^ a b c Stephen Thomas Erlewine. "AllMusic review for The Bodyguard Soundtrack". AllMusic. Retrieved July 26, 2010.
  3. ^ "The Bodyguard Soundtrack". Plugged In (publication). Focus on the Family. Archived from the original on July 15, 2011. Retrieved February 2, 2013.
  4. ^ "New Releases: Singles". Music Week. October 31, 1992. p. 21.
  5. ^ Linden, Amy (December 4, 1992). "The Bodyguard (soundtrack)". Entertainment Weekly. Retrieved October 22, 2022.
  6. ^ Culp, Nancy (November 21, 1992). "Long Play". NME. p. 34. Retrieved March 29, 2023.
  7. ^ a b c Stephen Holden (December 20, 1992). "Record Brief: The Bodyguard Original Soundtrack Album". The New York Times. Retrieved September 1, 2010.
  8. ^ Gettelman, Parry (December 4, 1992). "The Bodyguard Soundtrack". Orlando Sentinel.
  9. ^ "Q magazine review for The Bodyguard Soundtrack". February 1993. Retrieved July 26, 2010.
  10. ^ Duerden, Nick (February 1993). "Reviews: New Albums — Sound Bites". Select. p. 74. Retrieved December 26, 2024.
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  12. ^ J.D. Considine (March 29, 2010). "Rolling Stone magazine review for The Bodyguard Soundtrack". Rolling Stone. Archived from the original on September 9, 2012. Retrieved July 26, 2010.
  13. ^ Brackett, Nathan; Hoard, Christian David (July 13, 2017). The New Rolling Stone Album Guide. Simon and Schuster. ISBN 9780743201698 – via Google Books.
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  16. ^ "Top 100 Albums". RIAA. Retrieved October 6, 2015.
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  50. ^ "29 Black Music Milestones: Whitney Houston Sells 1 Million in A Week". Billboard.
  51. ^ Aleene MacMinn (December 31, 1992). "Morning Report: Pop/Rock". The Los Angeles Times.
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