A Love Letter To The Massively Underappreciated ‘Space Jam’ Soundtrack
Jam by name, jams by nature.
Ah, Space Jam. The film that dared to ask, “What if Michael Jordan played basketball with the Looney Tunes?”
We’ve all got fond, nostalgic memories of watching it, wearing out our VHS tapes in the process. Who didn’t wish they could ball with Bugs Bunny or drink Michael’s Secret Stuff? (It’s just water, guys).
But there’s one thing that usually gets overlooked when people talk about Space Jam: its soundtrack. It’s a genuinely great collection of mid-90s R&B and rap, which is impressive because most movie soundtracks are just an excuse for record labels to cram together a bunch of their best selling artists and hope for the best.
It’s been certified Platinum six times — for comparison, Oasis’ (What’s the Story) Morning Glory? has only been certified four times and, last time I checked, it doesn’t feature any songs that welcome you to The Jam.
So, come on and slam: let’s review Space Jam.
Seal — ‘Fly Like an Eagle’
Between this and ‘Kiss From A Rose’ for Batman Forever, Seal is the undisputed champion of 90s soundtrack singles.
That funky guitar sound, that soaring chorus, Seal’s soul fuelled vocals; its all so, so good.
Coolio — ‘The Winner’
Coolio lays down some inspirational lyrics that lean a bit too saccharine, but the soul-inpsired instrumentals and chorus stop it from being too sweet. The backing track is built around a sample from The Impressions’ ‘We’re A Winner’, which was written by Curtis Mayfield and became an anthem for the Civil Rights Movement.
That’s something this soundtrack actually does a lot: subtly introducing younger audiences to iconic African-American musicians through contemporary ones.
Quad City DJ’s — ‘Space Jam’
This is it. This why you remember Space Jam being awesome, because as far as hype tracks go it don’t get much better than this. I don’t think I’ve scored a single basket in my entire life, but this song makes me believe that I can dunk with the best of them.
Unfortunately, the actual song goes for five-whole-minutes, which is three-minutes longer than it needed to be.
‘I Believe I Can Fly’ – R. Kelly
B-Real, Busta Rhymes, Coolio, LL Cool J and Method Man — ‘Hit ‘em High (The Monstars’ Anthem)’
A who’s who of early 90s rap and easily the best track on the album. Most impressively, no one manages to half-ass their verses, with each rapper embodying the burly, bad guy style of the Monstars.
Listen to it for LL Cool J’s slam-dunk of a verse (I’m only allowed to use one cheesy sports metaphor and that’s it). He even manages to drop a nice dig at Michael Jordan’s post-retirement return to the NBA: ‘You in it for the money, or in it for the love, M.J.?’
D’Angelo — ‘I Found My Smile Again’
What did we do to deserve D’Angelo?
Hot off the back of Brown Sugar, ‘I Found My Smile Again’ continues to build on D’Angelo’s special blend of sexy soul-funk. The lyrics aren’t D’Angelo’s best work, (he says “smiling” a lot), but the instrumentals make up for any weaknesses, especially the percussion track.
Monica — ‘For You I Will’
Another decent R&B cut, and what I’d describe as being the soundtrack’s ~feelings~ song. I think it’s one of the less interesting tracks on the album, but it’s also certified Platinum so what do I know?
Salt-N-Pepa — ‘Upside Down (‘Round-N-‘Round)’
Just like ‘The Winner’ this track is mainly built around a classic sample (This time it’s Diana Ross’ ‘Upside Down’). The big difference is that Salt-N-Pepa really put their stamp on it.
‘Upside Down’ is such a good microcosm of their style — tight lyrics, catchy-as-fuck production and an earworm chorus.
Robin S. — ‘Givin’ U All That I’ve Got’
The Robin who performed ‘Show Me Love’ — not that ‘Show Me Love’; not that Robyn — does what she does best: a pumping, 90s house banger.
I can see myself calling my coke dealer’s beeper on a comically large cellphone while this plays in the background at a club, as was as the style in 1996.
Barry White and Chris Rock — ‘Basketball Jones’
A cover of a Cheech and Chong song about a kid who is inseparable from his basketball. The combination of White’s dulcet baritone and Rock’s raspy screech is like peanut butter and chocolate; it just works.
It’s an incredibly goofy song with lines like, “I took that basketball everywhere I went / You know what, that basketball was like a basketball to me.” But that goofiness makes it weirdly endearing. Is that a metaphor for why people like Space Jam? Maybe?
All-4-One — ‘I Turn to You’
These guys are famous for doing that ‘I Swear’ song, and ‘I Turn to You’ is more of the same, silky smooth boyband R&B.
It was set to be the soundtrack’s next single, but the record label pulled it at the last minute. Its writer, the legendary Diane Warren, was incensed by this and swore she’d show them how big of a hit it could be.
She hung on to the song, eventually giving it to Christina Aguilera who turned it into a hit, reaching number three on the US Billboard Hot 100.
R. Kelly feat. Changing Faces, Jay-Z — ‘All of My Days’
Again, fuck R. Kelly.
Spin Doctors feat. Biz Markie — ‘That’s the Way (I Like It)’
I get that most of this album is built around covers and samples of classic songs, but this does not work. It’s an embarrassing cover for everyone involved. Smash the skip button like you’re Darryl Dawkins dunking.
Bugs Bunny — ‘Buggin’’
If you think Reasonable Doubt is the most important Jay-Z release of 1996, you clearly haven’t heard the Bugs Bunny rap he wrote that includes the line: “Like Trump’s wife, up to my ears in carrots / Not even the barber can fade the rabbit.”
Honestly, it’s probably worse than the previous track but the sheer absurdity makes it worth at least a listen.
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Chris Neill is a pop culture writer. He has a six-foot vertical leap and tweets at @garflyf.