Soundtracks — All Formats  

What can we say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack – and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track "Brawling Broads", cool vibes and electric piano on "Aragon", off-beat jazz on "Coffy Sauna", and great soul on cuts like "Coffy Is The Color" and "Coffy Baby". Wonderful all the way through – and another jewel in the already-big crown of the great Roy Ayers!

What can we say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack – and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track "Brawling Broads", cool vibes and electric piano on "Aragon", off-beat jazz on "Coffy Sauna", and great soul on cuts like "Coffy Is The Color" and "Coffy Baby". Wonderful all the way through – and another jewel in the already-big crown of the great Roy Ayers!

What can we say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack – and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track "Brawling Broads", cool vibes and electric piano on "Aragon", off-beat jazz on "Coffy Sauna", and great soul on cuts like "Coffy Is The Color" and "Coffy Baby". Wonderful all the way through – and another jewel in the already-big crown of the great Roy Ayers!

What can we say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack – and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track "Brawling Broads", cool vibes and electric piano on "Aragon", off-beat jazz on "Coffy Sauna", and great soul on cuts like "Coffy Is The Color" and "Coffy Baby". Wonderful all the way through – and another jewel in the already-big crown of the great Roy Ayers!

Damn, is this a great record! The album's not only one of the best blacksploitation soundtracks ever recorded, it's also one of James Brown's funkiest outings of the early 70s! Nearly every cut's a winner, and James gets some very funky help from The JBs, who groove hard on the best instrumental cuts, plus Lyn Collins, who sings a sock version of "Mama Feelgood" that's worth the price of the record alone! Includes the classic "Down & Out in New York City", plus "Blind Man Can See It", "Sportin' Life", "The Boss", "Dirty Harri", and "Chase".The original on wax, with the split middle gatefold cover! One of James' best records from the 70's, and includes the cuts "Sportin' Life", "The Boss", "Down & Out in New York City", "Blind Man Can See It", and lots more good grooves. This is the original pressing – with a split die-cut gatefold cover in the middle!

Includes selections from Knight Without Armour, Tribute To A Badman, Asphalt Jungle, Moonfleet, Double Indemnity, Lust For Life, and Men Of The Fighting Lady.

Features performances by The Who, Elton John, Eric Clapton, and Tina Turner.

This sequel to Breakin was pretty bad, with an even more tenuous relationship to hip hop, but the soundtrack was saved from total ruin by George Kranz "Din Daa Daa", that has gone on to be subsequently sampled, and is a pretty fat 80s dance track on its own. The rest of the LP has that mid-80's-breakdance-movie sound including Ollie & Jerry's "Electric Boogaloo." Also includes "Radiotron" & "Stylin, Profilin" by Firefox, "Gotta Have The Money" by Steve Donn, "Believe In The Beat" by Carol Lynn Townes, and "Oye Mamacita" by Rags & Riches.

Easily one of the funkiest albums that James Brown ever recorded – and one of his few entries into the blacksploitation genre of the 70s! James really outdid himself for this one – working at a hard burning pace that had the JBs cooking up some killer funk for just about every number in the set – and which also has James himself stepping out vocally for a few key tracks. The album features the massive groover "People Get Up and Drive Your Funky Soul" – a slamming track that beats nearly every number in the JB 70s catalog – plus other cuts that include "To My Brother", "Brother Rapp", "Sexy Sexy Sexy", "Slaughter Theme", "Transmogrification", "King Slaughter", and "How Long Can I Keep It Up".

The movie maybe a goofy, if undeniably amusing pop culture relic, but the Polydor soundtrack is a genuine win! This is an album that doubtlessly brought breakdance and old school hip hop culture into the eyes of middle America – but what helps it stand the test of time are some solid non-hip hop cuts like "Ain't Nobody" by Rufus & Chaka Khan, "Freakshow On The Dance Floor" by The Bar-Kays, the smooth club hit "99 1/2" by Carol Lynn Townes, "Body Work" by Hot Streak and produced by Jellybean. Also includes "Reckless" by The Glove featuring vocals by Ice T.

Groovy genius from German arranger Peter Thomas – a sweet little follow-up to his soundtrack for Chariots Of The Gods! This time around, the setting's a bit more funky – a great mixture of mid 70s grooves with some of the trippier touches you'd know from Peter's previous space scores – all wrapped up with impeccable German production that really makes the whole thing sparkle! Some cuts are heavy on keyboards, while others mix up modes nicely – and as usual with Thomas, there's a really rich array of great sounds that keeps things delightful throughout. Daisy Door sings on the one vocal cut – "Dankeschon Fur Das Wiedersehn" – and other cuts include "Power Boost", "Mysteries Of Humanity", "Gamblin Ostinato", "The Eyes Of The Golden Mask", "Gods & Natives", and "Crystal Skull".