Isaac Hayes - Shaft Soundtrack CD

Shaft Soundtrack songs All tracks have been digitally remastered using 24-bit technology. The Very Best of the Originals includes their hits from the late '60s through the mid-'70s, along with some LP cuts, B-sides, and unreleased tracks. The first six songs were produced or co-produced by Marvin Gaye in 1969 and 1970 (including the hits "Baby I'm for Real" and "The Bells"). These have been sometimes cited as forerunners to his What's Going On album, but it would be wrong to view them as a What's Going On supplement. They're in much more of a lush, group vocal, sweet soul style, although some traces of ideas Gaye would play with in the early '70s are present, particularly in the way the background voices weave around each other. The one previously unreleased Gaye production, "Just to Keep You Satisfied," would be reworked, with the same backing track and backing vocals but with a different lead vocal and lyrics, on Gaye's Let's Get It On album. The rest of the tracks are largely in a competent sweet soul mold, also including "Suspicion," a previously unreleased Holland-Dozier-Holland number from 1966 with a more up-tempo sound; "Game Called Love," a 1974 cut composed and produced by Stevie Wonder; and "Down to Love Town," a 1976 disco smash. ~ Richie Unterberger Personnel: Marvin Gaye (vocals); Hank Dixon (tenor); Walter Gaines (baritone). Audio Remasterer: Jeff Willens. Liner Note Author: Adam White. Recording information: 1968-1970. Arrangers: Gene Page; H.B. Barnum; Marvin Gaye; Paul Riser; Tom Baird; David Van De Pitte. Personnel includes: Marvin Gaye (background vocals). Producers include: Marvin Gaye, Ivy Joe Hunter, Stevie Wonder, Brian Holland, Lamont Dozier.

Shaft Soundtrack CD music With his socially conscious messages and positive, pro-active stance, Curtis Mayfield seemed an unlikely candidate to score a blaxploitation film. That SUPERFLY resulted not only in an excellent soundtrack for the film, but in one of Mayfield's best albums, is all the more surprising. In fact, Mayfield's forward-thinking philosophy added a layer of depth to the movie, painting its realistic urban scenes through song in ways that comment on socio-economic hardships and the plight of many African Americans. He is especially skilled at character sketches, as on the driving "Freddie's Dead," and writing from particular points of view, as on the sly, slinky "Pusherman." Along with Isaac Hayes's SHAFT, SUPERFLY wrote the book on blaxploitation music, pioneering sounds, themes, and moods that would be indelibly associated--thanks in part to the films they accompanied--with black inner-city life in the '70s. Mayfield achieves this with an array of lean funk grooves punctuated by brass arrangements, interlocking percussion, wah-wah guitar, and his wispy, soulful tenor. The title track, which closes out the set, is one of Mayfield's signature tunes, and still stands among the most recognizable, and pleasurable, musical emblems of the era. Additional Tracks Recorded at RCA Studios, Chicago, Illinois and Bell Sound Studios, New York, New York. Includes liner notes by A. Scott Galloway. Audio Remasterer: Dan Hersch. Liner Note Author: A. Scott Galloway. Recording information: Bell Sound Studios, NY; RCA Studios, Chicago, IL. Photographer: David Parks. Arranger: Johnny Pate. SUPERFLY: DELUXE 25TH ANNIVERSARY EDITION contains 2 bonus tracks and the second disc contains rare and previously unreleased tracks as well as an interview with Curtis Mayfield. Personnel includes: Curtis Mayfield (vocals, guitar); Johnny Pate (arranger, conductor).

Shaft Soundtrack buy CD music Includes liner notes by Tom Vickers (former P-Funk Minister Of Imformation). Parliament was one arm in George Clinton's funk army during the 70s, a large conglomeration of groups and musicians (including Bootsy's Rubber Band, Funkadelic, The Horny Horns and others) dedicated to rewriting the rules of funk, soul and rock. Clinton's bands sounded like James Brown gone mad, partly because of the inclusion of former JB sidemen Bootsy Collins, Maceo Parker and Fred Wesley, but mostly because of the alternate universe they inhabited--a sort of drugged-out traveling sci-fi soul revue. MOTHERSHIP CONNECTION shows why Clinton's formula for funk domination of the free world worked so well. The music is tight and groovy, with heavy bass lines, precise horn runs and ultra-electronic keyboards (provided by Bernie Worrell). The lyrics are often no more than spaced-out spoken word excursions, sounding like Sly Stone reciting Isaac Asimov. And the whole concept and presentation was so totally freaked out that it would catch people off-guard, letting Clinton's teachings and philosophies seep into the unconscious. The most traditionally structured song is a love and bondage number called "Handcuffs," which shows how far Clinton and his P-Funkers had brought funk from the halcyon days of Otis Redding and James Brown. Songs like "P-Funk (Wants To Get Funked Up)" and "Tear The Roof Off The Sucker," with their extended interplay and dazed vocals, helped pave the way for the rise of hip hop as a commercial vehicle. Additional Tracks Recorded at Limited Sound, Detroit, Michigan and Hollywood Sound, Hollywood, California. Personnel: Bootsy Collins (vocals, guitar, drums, percussion); Garry Shider, Glen Goins (vocals, guitar); Clarence "Fuzzy" Haskins, George Clinton , Grady Thomas, Raymond Davis, Calvin Simon (vocals); Michael Hampton (guitar); Fred Wesley, Joe Farrell, Maceo Parker, Michael Brecker, Randy Brecker (horns); Bernie Worrell (keyboards, synthesizer); Gary Cooper (drums, hand claps, percussion); Archie Ivy, Taka Khan, Reginald Rasputin Boutte, Debbie Edwards, Pamela Vincent, Deborah Wright, Bryan Chimenti, Sidney Barnes (hand claps); Jim Vitti (sound effects). Liner Note Author: Tom Vickers. Photographer: David Alexander . Parliament: Bootsie Collins (vocals, guitar, bass, drums, percussion); Gary Shider, Glen Goins (vocals, guitar); George Clinton, Calvin Simon, Fuzzy Haskins, Raymond Davis, Grady Thomas (vocals); Michael Hampton (guitar); Fred Wesley, Maceo Parker, Michael Brecker, Randy Brecker, Boom, Joe Farrell (horns); Bernie Worrell (keyboards, synthesizer); Cordell Mosson (bass); Tiki Fullwood, Jerome Brailey (drums, percussion); Gary Cooper (drums, percussion, background vocals); Debbie Edwards, Taka Kahn, Archie Ivy, Bryna Chimenti, Rasputin Boutte, Pam Vincent, Debra Wright, Sidney Barnes.

Shaft Soundtrack album for sale ISSAC HAYES MOVEMENT is aptly named. It was here that Hayes reached his pinnacle as an arranger and producer, generating lengthy pieces that ebbed and crested into "movements" that were worlds removed from the taut, three-minute pop songs he helped write and craft for Stax/Volt studios in the 1960s. Ironically, none of the material on MOVEMENT is penned by Hayes. Instead, he takes on four stylistically diverse tunes: the Beatles' "Something," Jerry Butler's "I Stand Accused," Chalmers/Rhodes's "One Big Unhappy Family," and the Bacharach/David ballad "I Just Don't Know What To Do With Myself." Yet Hayes so radically transforms these songs--filling them with his meticulous orchestrations and complex horn charts--that he re-defines them as his own. The lengthy spoken prelude to "I Stand Accused" turns the song into a study of obsessive longing with an almost novelistic sweep. "Something," the album's longest cut at nearly 12 minutes, uses the full colors of an orchestra to dramatic effect, while "I Just Don't Know What To Do With Myself" is a textbook example of smooth, string-sweetened soul. Hayes gives full rein to his arranging skills on ISAAC HAYES MOVEMENT, making it one of the most ambitious, grandiose soul records of the era. Recording information: 03/1970-04/1970. Photographer: Joel Brodsky. Arrangers: Isaac Hayes; Dale Warren. Personnel: Isaac Hayes (vocals, keyboards); Isaac Hayes. Audio Remixer: Ron Capone.

Shaft Soundtrack CD music Digitally remastered by Joe Tarantino (Fantasy Studios, Berkeley, California). Released in late 1970 on the heels of two chart-topping albums, Hot Buttered Soul (1969) and The Isaac Hayes Movement (also 1970), Isaac Hayes and the Bar-Kays retain their successful approach on those landmark albums for To Be Continued, another number one album. Again, the album features four songs that span far beyond traditional radio-friendly length, featuring important mood-establishing instrumental segments just as emotive and striking as Hayes' crooning. Nothing here is quite as perfect as "Walk on By," and the album feels a bit churned out, but To Be Continued no doubt has its share of highlights, the most notable being "You've Lost That Lovin' Feelin'." The album's most epic moment opens with light strings and horns, vamping poetically for several minutes before Hayes even utters a breath; then, once the singer delivers the song's orchestral chorus, the album hits its sentimental peak -- Hayes elevating a common standard to heavenly heights once again. Elsewhere, "Our Day Will Come" features a nice concluding instrumental segment driven by a proto-hip-hop beat that proves just how ahead of his time Hayes was during his early-'70s cycle of Enterprise albums. It's tempting to slight this album when holding it up against Hayes' best albums from this same era, but a comparison such as this is unfair. Even if Ike isn't doing anything here that he didn't do on his two preceding albums -- Hot Buttered Soul, The Isaac Hayes Movement -- and isn't quite as daring as he is on his two successive albums -- Black Moses, Shaft -- To Be Continued still topples any Hayes album that came after 1971. It didn't top the R&B album chart for 11 weeks on accident -- this is quintessential early-'70s Isaac Hayes, and that alone makes it a classic soul album. ~ Jason Birchmeier Originally released on Enterprise (ENS-1014). Personnel: Isaac Hayes (vocals, piano, electric piano, keyboards, vibraphone, bongos, timpani); Gloria Hendricks, Ed Freudberg, Joan Gilbert, Robert Snyder, John Wehlan, Noel Gilbert, Hal Saunders, Ann Spurbeck (violin); Nino Ravarino (viola); Vincent de Frank, Barbara Thompson (cello); Jack Fonville, Edwin Hubbard, James Terry (flute); Nick Vergos (oboe, English horn); Ernie Bernhardt, John Davis , Johnny Scat Davis (trumpet); Joe De'Gerolamo, D'Gerolamo, Richard Dolph (French horn); Jackie Thomas, Bill Bell (trombone); Hot Buttered Soul Unlimited, Pat Lewis (background vocals). Photographer: Joel Brodsky. Unknown Contributor Roles: The Memphis Symphony Orchestra; The Bar-Kays; The Memphis Horns. Arrangers: Dale Warren; Isaac Hayes; Pat Lewis. Personnel includes: Isaac Hayes (vocals, acoustic & electric pianos, vibraphone, bongos, timpani); Ed Freudberg, Joan Gilbert, Noel Gilbert, Gloria Hendricks, Hal Saunders, Ann Spurbeck, Robert Snyder, John Wehlan (violin); Nino Ravarino, Mary Snyder (viola); Vincent De Frank, Barbara Thompson (cello); Ed Hubbard, Jim Terry (flute); Nick Vergos (oboe, English horn); Ernie Bernhardt, John Davis (trumpet); Bill Bell, Jackie Thomas (trombone); Richard Dolph, Joe D'Gerolamo (French horn); Cliff Acred (bass); Hot Buttered Soul (background vocals); The Bar-Kays, The Memphis Horns, The Memphis Symphony Orchestra. Engineers: William Brown, Henry Bush, Ron Capone.

Shaft Soundtrack buy CD music Digital remastering by Joe Tarantino (1991, Fantasy Studios, Berkeley). With seven massive number one records trailing in his wake, Isaac Hayes donned his stylin', funky gold-chain link vest once again and capped 1973 with Joy, a set which might have proven the lucky-streak breaker -- it missed the top spot by one place -- but still waded into gold-record waters with ease. "Joy" itself, of course, was the album's crowning glory, a gargantuan 15-minute piece which essentially devoured side one of the album (the accompanying "I Love You That's All" is merely an afterthought). Heady, smoky, ubiquitous -- an instrumental and vocal foray into the land of good grooves -- it was sexy and sassy, with strings and innuendo stripped bare and smoothly built to lead anyone within earshot toward a classic climax. The song continued to impact via sampled revitalization from as far afield as TLC, Massive Attack, Eric B. & Rakim, and Big Daddy Kane. But don't forget that Joy is an entire album, with Hayes continuing his silky vocal assault across a further three slow, simmering songs. The best, and perhaps most interesting, is the closing "I'm Gonna Make It (Without You)." Markedly un-steamy, the song finds Hayes trading in his come-ons, choosing instead to open up and lay himself down in the wake of a broken romance. It's Joy's most touching moment, equally on par with the opener. Indeed, with those two glorious bookends, this album becomes a must-have for any '70s soul aficionado. ~ Amy Hanson Recorded in April and May, 1973. Personnel: Isaac Hayes (vocals, keyboards); Hot Buttered Soul Unlimited (background vocals). Audio Remixers: Henry Bush; Joe Tarantino. Recording information: 04/1973/05/1973. Photographer: Ken Marcus. Arrangers: Isaac Hayes; Johnny Allen; Willie Hall. Personnel includes: Isaac Hayes (arrangements); Memphis Strings (strings); Movement Horns (horns); Hot Buttered Soul Unlimited (background vocals).