It takes a unique doll to warrant her own soundtrack, so come on, Barbie, let’s go celebration.
“Barbie The Album,” out Friday, feels like an celebration, the method smashhit soundtracks of the ‘80s – looking at you “Top Gun,” “Dirty Dancing,” “Footloose” – commandeered radio for months with a waterfall of hits.
“We desire individuals to experience it as a front-to-back body of work of listening minutes,” states Kevin Weaver, Atlantic Records’ West Coast president who produced the album with Atlantic’s executive vice president and co-head of pop/rock A&R Brandon Davis and super-producer Mark Ronson (Lady Gaga, Adele, Bruno Mars).
With 17 initial tunes from such artists as Sam Smith, Billie Eilish, Ava Max, Tame Impala, Dua Lipa and Lizzo and one cover (Brandi Carlile wrenching hearts with The Indigo Girls’ “Closer to Fine”), the soundtrack is wonderfully frothy, however not scared to delve into sensations.
Ryan Gosling’s singing is a ‘standing ovation minute’
A standout on the album is “I’m Just Ken,” Gosling’s masterpiece that begins as a power ballad, zigs into a fist-clenching angst rocker, zags into an Elton John-esque crucial and then returns to ‘80s-style anthemic rock.
Through it all, Gosling, his voice slightly reminiscent of Elvis Costello, asks Barbie to offer him a opportunity, appealing, “I’m simply Ken … I’m excellent at doing things.”
Gosling’s turn is sincere and entertaining and both Weaver and Davis are fast with gushing appreciation, with Davis ranking the star’s singing a “10 out of 10” and Weaver upping it to “1,000 out of 1,000.”
“It’s a standing ovation minute in the movie,” Davis states. “We were blown away by him.”
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Adds Weaver, “We’ve seen the movie a coupleof times with genuine audiences and every single time at the end of that number, the audience emerges in applause. It’s a remarkable minute.”
‘Barbie’ and a fortunate Aqua number
Nicki Minaj’s dedicated fan base calls themselves “Barbz,” so it’s just fitting she would be included in the soundtrack. Her pairing with buzzy upstart Ice Spice on “Barbie World” functions a wriggling beat that weaves in and out of its bass-heavy pulse (parental alerting: there are a coupleof drops of blasphemy).
But the foundation of the tune is “Barbie Girl,” the eccentric novelty hit from Europoppers Aqua.
Weaver states they worked with the Danish-Norwegian group to clear the rights to usage the most apparent tune in pop history for a Barbie film, and points out a mathematical twist: The initial “Barbie Girl” peaked at No. 7 on the Billboard Hot 100 in 1997 and now “Barbie World” debuted at No. 7 on the exactsame chart.
The paradox of the light-weight piffle being reanimated 26 years lateron isn’t lost on the group.
“It feels like they’re absolutely attempting to optimize the worth of this minute,” Weaver states.
The return of “Barbie Girl” likewise provides Aqua some vindication. Mattel tooklegalactionagainst the band in 1997 declaring hallmark offense. The claim was dismissed.
Lizzo, Brandi Carlile, Haim amongst soundtrack highlights
There is nary a snoozer on “Barbie The Album” – an effective collection of primarily two-to-three-minute tunes – however a handful of additions pop out.
Lizzo, “Pink”: Throw in a memory of Madonna’s “Holiday” combined with Lizzo’s matter-of-fact shipment (“We got crucial things to do!”) and you’ll desire to instantly obey and dance. It’s a horn-dusted blast of fluffy enjoyable.
Charli XCX, “Speed Drive”: Like its name, the caffeinated pop tune zooms happily, with the through line of Toni Basil’s 1982 smash “Mickey” leading its shouting chorus.
Haim, “Home”: The superb voices of the California sis mesh with dripping synthesizers as they sing, regards, about Barbie’s inner strength. But truly, it’s a tune about anybody looking back and moving forward.
Tame Impala, “Journey to the Real World”: Kevin Parker requires just 90 seconds to mesmerize with sliding disco swirls that move a dreamscape of noise. Could this music be the background to a flight at a style park? Yes, and please.
Ava Max, “Choose Your Fighter”: Leaning on the most unforgettable parts of her 2020 struck, “Kings & Queens,” Max provides a galloping dance track with a unbelievably hooky chorus, her honeyed voice turning spiky when required to make a point.
Sam Smith, “Man I Am”: Their voice indistinguishable at veryfirst, Smith injects some spice into this sweet soundtrack, announcing early that “this one is for the youngboys.” Over buzzing keyboard and tense dance flooring beats they notify, “That’s simply the male I am/super sleazy, hot and freaky Ken tonight.”
Billie Eilish, “What Was I Made For?” and Brandi and Catherine Carlile, “Closer to Fine”: Both tunes spotlight the thoughtful side of “Barbie,”