| Product Summary | | Label: Bmg/arista/la Face | | UPC: 00730082608022 | | Release Date: 6/13/2000 | | Buy.com Sku: 60410428 | | Item#: MMMQWH | | Buy.com Sales Rank: 25140 | Format:  CD |
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| Song Listing |  |
Disc 1
| | Song Title | Sample | | 1. Theme From Shaft - Isaac Hayes ~ Original Soundtrack |  | | 2. Bad Man - R. Kelly ~ Original Soundtrack | | | 3. Up And Outta Here - R. Kelly ~ Original Soundtrack | | | 4. Do What I Gotta Do - Donell Jones ~ Original Soundtrack | | | 5. Rock Wit U - Alicia Keys ~ Original Soundtrack | | | 6. We Servin' - Big Gipp ~ Original Soundtrack | | | 7. Tough Guy - Outkast/UGK ~ Original Soundtrack | | | 8. 2 Glock 9's - T.I.P./Beanie Sigel ~ Original Soundtrack | | | 9. Summer Rain - Carl Thomas ~ Original Soundtrack | | | 10. Automatic - Sleepy Brown/Backbone/Big Rube ~ Original Soundtrack | | | 11. Pimp Sh*t - Too Short ~ Original Soundtrack | | | 12. Cheatin' - Liberty City ~ Original Soundtrack | | | 13. Fix Me - Parle'/Jadakiss/Eve ~ Original Soundtrack | | | 14. How You Want It? - Mil ~ Original Soundtrack | | | 15. Ain't Gonna See Tomorrow - Mystikal ~ Original Soundtrack | | | 16. My Lovin' Will Give You Something - Angie Stone ~ Original Soundtrack | | | 17. Serenata Negra - Fulanito ~ Original Soundtrack | |
| This soundtrack features a brand new version of "Theme from Shaft" by Isaac Hayes and music from artists R. Kelly, Donnell Jones, Big Gipp, Carl Thomas, Too $hort, Mystical, and Angie Stone.
| | Album Notes and Credits |
Notes & Personnel Info |  | Producers: Kawan "KP" Prather, Bill Stephney, Antonio "LA" Reid. | | Producers: Kawan "KP" Prather, Bill Stephney, Antonio "LA" Reid. | | This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. | | Personnel: Isaac Hayes (piano, electric piano, organ, vibraphone); Michael Toles, Charles Pitts (guitar); Lester Snell, Sidney Kirk (piano); James Alexander, Ronald Hudson (bass); Willie Hall (drums, tambourine); Gary Jones (bongos, congos); The Memphis Strings; The Memphis Horns. | | Recorded at Stax Recording Studios, Memphis, Tenessee. Originally released on Enterprise (2-5002). | | Personnel: Pimp C, Sleepy Brown, Backbone, Big Boi, Big Rube, Bun B (vocals); Sheldon Goode (guitar, strings); Daris Adkins, Billy Odum, Donnie Lyle, Randy Bowland (guitar); Karen Karlsrud, Maura Giannini, Winterton Garvey, Ann Labin, Pamela Posk, Anthony Posk, Masako Yanagita, Martha Caplin, Ron Oakland, Sheila Reinhold, Richard Auldon Clark, Richard Henrickson (violin); Kenneth Burward-Hoy, Olivia Koppell, Maxine Roach, Harold Coletta (viola); Jesse Levy, Kermit Moore (cello); Jimmy Brown, Lew DelGatto (flute); Joe Torano (saxophone); Bob Milikan, Johnny Britt, Dave Trigg (trumpet); Marshall Sealy, John Clark (French horn); Keith O'Quinn, Douglas Purviance, Birch Johnson (trombone); Alicia Keys (piano, keyboards, background vocals); Isaac Hayes (Fender Rhodes piano, organ); Alfreda Gerald (organ); Organized Noize (keyboards, drums); Marvin "Chanz" Parkman, Gerald Jackson, McKinley Horton, Earthtone III, Lester Snell (keyboards); Ian Mereness (programming); Clifton Lighty, Fred Sawyers, Gerry DeVeaux, Patrick "Sleepy" Brown, Joi Gilliam, Myra Walker, Angie Stone (background vocals). | | Audio Mixers: John Frye; Andre Debourg; David Gamson; Michael Romanowski; Gerry DeVeaux; Charles "Prince Charles" Alexander ; Rob Chirelli; Gerry Brown ; Josh Butler; Peter Mokran; The Legendary Traxster; Tony Maserati; Tony Prendatt; Tony Smalios; Windose International; Sheldon Goode. | | Recording information: Backyard Beats, Atlanta, GA; Battery Studios, New York, NY; Blue Basement Recording, Atlanta, GA; Chicago Trax, Chicago, IL; Daddy's House Recording Studios, New York, NY; Darp Recording Studios, Atlanta, GA; Doppler Recording Studios, Atlanta, GA; Legendary Traxster Inc. Studios, Chicago, IL; Marcus Studios, London, England; National Recording Studio, New York, NY; Patchwerk Recording Studio, Atlanta, GA; Playground Minimansion Stuido, NJ; Powerhouse Studios, Yonkers, NY; Room Digital, NJ; Sony Studios, New York, NY; Sound On Sound Recording Studios, New York, NY; Stankonia Recording, Atlanta, GA; Studio 353, New York, NY; The Dungeon Recording Studio, Atlanta, GA; The Studio, Philadelphia, PA; Tree Sound, Atlanta, GA. | | Editors: Abel Garibaldi; Ian Mereness. | | Arrangers: David Gamson; Earthtone III; Alicia Keys; R. Kelly. | | Of the many wonderful blaxpoitation soundtracks to emerge during the early '70s, Shaft certainly deserves mention as not only one of the most lasting but also one of the most successful. Isaac Hayes was undoubtedly one of the era's most accomplished soul artists, having helped elevate Stax to its esteemed status; therefore, his being chosen to score such a high-profile major-studio film shouldn't seem like a surprise. And with "Theme from Shaft," he delivered an anthem just as ambitious and revered as the film itself, a song that has only grown more treasured over the years, after having been an enormously popular hit at the time of its release. Besides this song, though, there aren't too many more radio-targeted moments here. "Soulsville" operates effectively as the sort of downtempo ballad Hayes was most known for, just as the almost 20-minute "Do Your Thing" showcased just how impressive the Bar-Kays had become, stretching the song to unseen limits with their inventive, funky jamming. For the most part, though, this double-LP features nothing but cinematic moments of instrumentation, composed and produced by Hayes while being performed by the Bar-Kays -- some downtempo, others quite jazzy, nothing too funky, though. Even if it's not quite as enjoyable as Curtis Mayfield's Superfly due to its emphasis on instrumentals, Shaft still remains a powerful record; one of Hayes' pinnacle moments for sure. ~ Jason Birchmeier | | Music/Film composer David Arnold has a few popular box office film scores under his belt, including The World Is Not Enough (1999), Tomorrow Never Dies (1997), Godzilla (1998), and Independence Day (1996). How did he land the lackluster deal for the action thriller Shaft? | | Isaac Hayes, of course, is the only originator to this classic namesake. His "Theme From Shaft" is a '70s standard, therefore, it carries things this time around as well. There is more of an urban, gangsta rap tone to this version -- unexpected, but not surprising. West Coast rapper Too $hort claims he was never a sucker, getting nasty ghetto-style on "Pimp Sh*t." Things get even raunchier with songs from hoarse-throated beatboxer Mystikal, OutKast, and Goodie Mob's Big Gipp. But Shaft is known for being smooth, too. R. Kelly and Donell Jones attempt to lay the lights down low, but time is cheap. Shaft does not uphold its original musical savvy. Once is enough, and sadly only an average resurrection to one of the '70s signature funkadelic anthems. ~ MacKenzie Wilson | | Despite its codification into our collective pop culture consciousness, Isaac Hayes' "Theme From Shaft" is a highly original composition. It's been remade by Hayes himself for the remade Shaft film, and appropriately kicks off this collection of tunes from the movie by some of R&B's New Jacks. | | A diverse selection of artists encompass the collection, from lascivious soul stirrer R. Kelly to the rugged Latin hip-hop of Fulanito, along with many other noteworthy diversions that represent the many flavors of contemporary urban soul. Most of the material focuses on John Shaft's street smarts and bravado, or the film's pimps, hoes, and gangsta imagery. As expected, Southern hip-hop is well represented, with Outkast, Mystikal, and Big Gipp from Goodie Mob contributing. The tracks offer typically gritty observations on street life, over bleak, minor chords and busy percussion. T.I.P. featuring Beanie Sigel offers "2 Glock 9's," one of the soundtrack's most rugged grooves, a minimal, stripped-down drum break that stutters and skids backwards and forwards over a Notorious BIG vocal sample and is easily the eeriest track on the album. The only light relief is provided by Too $hort's "Pimp Sh*t," a humorous foray into playa politics. | | Despite its codification into our collective pop culture consciousness, Isaac Hayes' "Theme From Shaft" is a highly original composition. It's been remade by Hayes himself for the remade Shaft film, and appropriately kicks off this collection of tunes from the movie by some of R&B's New Jacks. | | A diverse selection of artists encompass the collection, from lascivious soul stirrer R. Kelly to the rugged Latin hip-hop of Fulanito, along with many other noteworthy diversions that represent the many flavors of contemporary urban soul. Most of the material focuses on John Shaft's street smarts and bravado, or the film's pimps, hoes, and gangsta imagery. As expected, Southern hip-hop is well represented, with Outkast, Mystikal, and Big Gipp from Goodie Mob contributing. The tracks offer typically gritty observations on street life, over bleak, minor chords and busy percussion. T.I.P. featuring Beanie Sigel offers "2 Glock 9's," one of the soundtrack's most rugged grooves, a minimal, stripped-down drum break that stutters and skids backwards and forwards over a Notorious BIG vocal sample and is easily the eeriest track on the album. The only light relief is provided by Too $hort's "Pimp Sh*t," a humorous foray into playa politics. | | The title track's perennially recognizable hi-hat and wah-wah guitar intro, interlocking horn/string parts, and smooth, proto-rap verses conjure the name SHAFT as surely as a snake-char |
Engineer: John Frye; Andre Debourg; William Berry Jackson; Ron Christopher Horvath; Mike Wilson; Kevin Parker; Gerry DeVeaux; E-Plugg; Joe "Smilin' Joe" Perrera; DJ Snake; Rob Paustian; Abel Garibaldi; Ralph Cacciurri; Robin Mays; The Legendary Traxster; William Ja |
Musical Guests | | The Memphis Horns |
| | Technical Info | | Release Date : 06/13/2000 | | Original Release Date : 1971 | | Catalog ID : 26080 | | Label : LaFace (USA) | | Number of Discs : 1 | | Studio/Live : Studio | | Mono/Stereo : Stereo | | SPAR Code : n/a | | UPC : 00730082608022 |
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| | Professional Reviews | | Entertainment Weekly (10/12/01, p.36)
- Ranked #40 in EW's "100 Best Movie Soundtracks" - "...A funkafied mama jama..."Entertainment Weekly (6/23/00, pp.102-3)
- "...This is an arsenal of blaxploitation-funk homages from some of today's most affecting rap...and R&B acts..." - Rating: B Entertainment Weekly (6/23/00, pp.102-3)
- "...This is an arsenal of blaxploitation-funk homages from some of today's most affecting rap...and R&B acts..." - Rating: B Entertainment Weekly (10/12/01, p.36)
- Ranked #40 in EW's "100 Best Movie Soundtracks" - "...A funkafied mama jama..." Q (10/00, pp.142-4)
- 4 stars out of 5 - "...It single-handedly enhanced the reputation of a stylish but dull feature, and helped give rise to an entire movie genre. The potency of that track...highlights Hayes; top-flight skills as a composer....its lasting impact is more obvious..." Q (10/00, pp.142-4)
- 4 stars out of 5 - "...It single-handedly enhanced the reputation of a stylish but dull feature, and helped give rise to an entire movie genre. The potency of that track...highlights Hayes; top-flight skills as a composer....its lasting impact is more obvious..." CMJ (8/00, p.66)
- "...It might not be the 1971 all-Hayes classic, but Samuel L. Jackson on the cover bodes well for any soundtrack." CMJ (8/00, p.66)
- "...It might not be the 1971 all-Hayes classic, but Samuel L. Jackson on the cover bodes well for any soundtrack." Vibe (8/00, p.165)
- "...A reasonably hot summer soundtrack....Alicia Key's 'Rock Wit You' lives up to the original album: With Hayes himself providing string arrangements and getting ill on the Rhodes....it's ruggedly sexy..." Vibe (8/00, p.165)
- "...A reasonably hot summer soundtrack....Alicia Key's 'Rock Wit You' lives up to the original album: With Hayes himself providing string arrangements and getting ill on the Rhodes....it's ruggedly sexy..." Mojo (Publisher)
(6/02, p.66)
- Included in Mojo's "100 Coolest Movie Soundtracks". Mojo (Publisher)
(11/99, p.132)
- "...boasting Issac Hayes' brilliant score. The main theme proved unstoppable, an award-winner that resulted in countless similar funk fiestas..." Mojo (Publisher)
(10/00, p.100)
- "...The melodramatic strings, sleazy horns and wacca-wacca guitars are all present, but it still feels as ersatz as an old Top Of The Pops compilation album..." Mojo (Publisher)
(6/02, p.66)
- Included in Mojo's "100 Coolest Movie Soundtracks". Mojo (Publisher)
(11/99, p.132)
- "...boasting Issac Hayes' brilliant score. The main theme proved unstoppable, an award-winner that resulted in countless similar funk fiestas..." |
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