The mission of The Department of Afro-American Research Arts and Culture to identify the global significance of the creative contributions pioneered by an international diaspora of Blackness
The Department of Afro American Research, Arts, and Culture's Archive is a subdivision of DAARAC that digitally preserves Afro American films. On this website, you may browse our archive that consists of film posters, screenshots, and movie synopsis. All information provided here is for research and reference purposes. We do not host full-length films on this website.

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Thursday, January 29, 2009

Legendary Group: Booker T. & The M.G.'s

Formed in Memphis, Tennessee, U.S.A., in 1962 taken from part of the Mar-Keys, the group comprised:

Booker T. Jones (b. 12th November 1944, Memphis, Tennessee, U.S.A; organ)

Steve Cropper (b. 21st October 1941, Willow Spring, Missouri, U.S.A; guitar)

Lewis Steinberg (bass)

and AI Jackson Jr. (b. 27th November 1934, Memphis, Tennessee, U.S.A., d. 1st October 1975, Memphis, Tennessee, U.S.A; drums).


"As the house band for the Stax/Volt labels, Booker T. and the MG’s helped define the spare, punchy sound of Memphis soul music. By contrast to Motown’s orchestrated, pop-soul records, the Stax approach was lean, economical and deeply groove-oriented. Between 1963 and 1968, Booker T. and the MGs appeared on more than 600 Stax/Volt recordings, including classics by such artists as Otis Redding, Eddie Floyd, Rufus Thomas, Carla Thomas, Johnnie Taylor and William Bell. As a result of Stax’s affiliation with Atlantic Records, the group also worked with Wilson Pickett, Sam and Dave, and Albert King. Moreover, Booker T. and the MGs were a successful recording group in their own right, cutting ten albums and fourteen instrumental hits, including “Green Onions,” “Hang ‘Em High,” “Time Is Tight” and “Soul-Limbo.”

The group came together in the early Sixties at Stax Records, a studio and record store on East McLemore Avenue in Memphis. By 1962, guitarist Steve Cropper, organist Booker T. Jones and bassist Lewis Steinberg were established session musicians at Stax. They were joined on a recording date for Billy Lee Riley (of “Flying Saucers Rock ‘n’ Roll” fame) by drummer Al Jackson, with whom Steinberg had played in the house band at Memphis’ Plantation Inn. It was during some down time at the Riley session that this lineup recorded the classic Sixties soul instrumental “Green Onions.” The definitive version of Booker T. and the MGs (which stood for “Memphis Group") was completed in 1963, when bassist Donald “Duck” Dunn - a former schoolmate and bandmate of Cropper’s who’d been touring with the Mar-Keys, another Stax backup group - replaced Steinberg. This lineup lent instrumental fire and uncluttered rhythmic support to countless soul classics. Particularly fruitful was their relationship with Stax’s biggest star, Otis Redding. In addition to playing on virtually all of his records, the band backed him at his legendary performance at the Monterey Pop Festival in 1967 (along with the Mar-Kays), and guitarist Cropper co-wrote his best-known number, “(Sittin’ On) The Dock of the Bay.” Cropper also shared writing credits on such soul standards as Wilson Pickett’s “In the Midnight Hour,” Sam and Dave’s “Soul Man,” Eddie Floyd’s “Knock On Wood” and Albert King’s “Born Under a Bad Sign.”

The group gradually disintegrated after the sale of Stax in 1968, although the rhythm section of Dunn and Jackson continued to play on many subsequent Stax recordings. Booker T. Jones branched out into record production and worked on a music degree at Indiana University. Cropper opened a studio in Memphis in 1969 and moved to Los Angeles to do session work in the mid-1970s. Jackson went on to provide a solid backbeat for Al Green. All the while, Booker T. and the MGs remained an ongoing entity, albeit an intermittent and casual one - that is, until the senseless murder of Jackson by an intruder in 1975. In 1990, the remaining members came together to back Neil Young on a tour. In 1994, they released That’s the Way It Should Be, their first album in more than 20 years.”


Green Onions (Stax 1962)
Mo' Onions (1963)
Soul Dressing (Stax 1965)
My Sweet Potato (1965)
And Now! (Stax 1966)
In The Christmas Spirit (Stax 1966)
Hip Hug-Her (Stax 1967)
with the Mar-Keys: Back To Back (Stax 1967)
Doin' Our Thing (Stax 1968)
Soul Limbo (Stax 1968)
Uptight (Stax 1969)
The Booker T Set (Stax 1969)
McLemore Avenue (Stax 1970)
Melting Pot (Stax 1971)
as the MG's: The MGs (Stax 1973)
Memphis Sound (Warners 1975)
Union Extended (Warners 1976)
Time Is Tight (Warners 1976)
Universal Language (Asylum 1977)
Solo: Booker T. Jones
Try And Love Again (A&M 1978)
The Best Of You (A&M 1980)
I Want You (A&M 1981)
The Runaway (MCA 1989)
That's The Way It Should Be (Columbia 1994)


Wednesday, January 21, 2009

Lialeh aka Black Lialeh aka Black Deep Throat (1973)

  • Jennifer Leigh
  • Lawrence Pertillar
  • Amy Mathiew
  • John D. Montgomery
  • Bernard "Pretty" Purdie
  • Darryl Speer
  • Andrea True
This page needs to be updated.

Thursday, January 15, 2009

Johnnie Taylor - Disco 9000 OST (1977)

1 I Just Don't Know What I'd Do Without You
2 Toot Your Flute
3 Just a Happy Song
4 God Is Standing By
5 Disco 9000
6 I Love You Woman
7 Right Now

1977 LP Columbia 35004

Johnnie Taylor's entry into the blaxploitation genre is a disappointing affair. The album features a number of uninspired sub-disco soul tracks, very few of which actually appeared in the movie. The album's only redeeming feature is the Disco 9000 theme. The film is much, much better than the soundtrack album and, ironically, showcases some excellent songs that aren't on this album.
The soundtrack of the movie Disco 9000 (later retitled Fass Black after the blaxploitation flick's main character). Johnnie Taylor had a small part --performing "Disco Lady" -- in the less-than-thrilling box-office flop. Incidentally, "Disco Lady" is not part of the soundtrack. Sony records issued an album with this title in 1998 that is essentially a "best of Johnnie Taylor at CBS" CD and not the original soundtrack. This seven-track album contains two prototype soundtrack instrumentals; the other material, especially the formulaic "Disco 9000," is not Taylor's best. However, "I Love You Woman," "Right Now," and "I Don't Know What I'd Do Without You," are OK bluesers with contemporary productions.
by Andrew Hamilton

This comes to You courtesy of DJmadi

Those of You who may want to check out the previous review of the compilation album of the same name may do so here.

Sunday, January 11, 2009

Isaac Hayes/Gordon Parks/Johnny Pate - Shaft Anthology: His Big Score and More! (1971-1974)

Track listing:



Music Composed and Performed by Isaac Hayes
Rhythm by The Bar-Kays and Movement
1. Title Shaft (Theme From Shaft) Vocal by Isaac Hayes 4:34
2. Shaft’s First Fight 1:46
3. Reel 2 Part 2/Cat Oughta Be Here 1:43
4. Bumpy’s Theme (Bumpy’s Lament) 1:44
5. Harlem Montage (Soulsville) Vocal by Isaac Hayes 3:32
6. Love Scene Ellie (Ellie’s Love Theme) 1:43
7. Shaft’s Cab Ride/Shaft Enters Building 1:38
8. I Can’t Get Over Losin’ You 2:06
9. Reel 4 Part 6 1:37
10. Reel 5 Part 1 1:35
11. Reel 5 Part 2 (A Friend’s Place) 1:44
12. Source No. 1—6M1A (Bumpy’s Blues) 3:05
13. Source No. 1—6M1B (Bumpy’s Lament) 1:32
14. Source No. 1—6M1C (Early Sunday Morning) 3:05
15. Source No. 2—7M1A (Do Your Thang) Vocal by Isaac Hayes 3:21
16. Source No. 2—7M1B (Be Yourself) 1:54
17. Source No. 2—7M1C (No Name Bar) 2:28
18. Shaft Strikes Again/Return of Shaft 1:36
19. Source No. 3 (Caffe Reggio) 4:23
20. Shaft’s Walk to Hideout (Walk From Reggio) 2:27
21. Shaft’s Pain 3:03
22. Rescue/Roll Up 10:44

Total Time: 62:07

Bonus Tracks
23. Theme From The Men 4:09
24. Type Thang (From Shaft’s Big Score!) 3:53

Total Time: 8:04

Total Disc Time: 70:18


Shaft’s Big Score!

Music and Lyrics by Gordon Parks, Conducted by Dick Hazard
Music Supervision by Tom McIntosh
1. Blowin’ Your Mind (Main Title) Vocal by O.C. Smith 3:30
2. The Other Side 1:49
3. Smart Money 2:10
4. The Search/Sad Circles 2:31
5. Asby-Kelly Man 1:45
6. First Meeting 1:56
7. Don’t Misunderstand Vocal by O.C. Smith 1:46
8. Fight Scene 1:06
9. Ike’s Place 4:09
10. Move on In Vocal by O.C. Smith 3:38
11. 8M1/8M2 1:25
12. Funeral Home 4:02
13. Don’t Misunderstand (instrumental) 1:53
14. 9M3 0:44
15. Symphony for Shafted Souls (Take-Off/Dance of the Cars/Water Ballet/Call and Response/The Last Amen) 14:06
16. End Title 1:16
17. Don’t Misunderstand (demo) Vocal by O.C. Smith 2:00

Total Time: 50:24

Shaft (Television Series)

Music Composed and Conducted by Johnny Pate
“Theme From Shaft” Composed by Isaac Hayes
“The Executioners”
1. Courtroom/Leaving Court 2:36
2. Dawson’s Trial 1:58
3. Shaft Leaves Barbara/East River/He’s Dead, Barb/Cunningham’s Breakfast 1:58
4. Visiting Jane/Act End/Jury Meets 2:02
5. Cars and Bridges 2:43
6. Leaving Airfield/Shaft Checks Hospital 2:22
7. Shaft Gets Shot/Shaft in Car 1:29
8. Night Blues 1:02
9. Day Blues 1:04
10. Pimp Gets Shot 2:59
11. Handle It/Follow Cunningham 3:31
12. Shaft Escapes/Stalking Menace 2:42
13. End Theme 0:30

Total Time: 27:20

Total Disc Time: 77:50


“The Killing”
14. Opening 2:33
15. Diana in Hospital 2:37
16. Window Shop/Leaving Hospital/Ciao 1:28
17. Restaurant Scene/Punchin’ Sonny 2:52
18. Hotel Room 3:05
19. Diana Splits/Booking Shaft 1:31
20. Shaft Gets Sprung/Searchin’ 2:09
21. Pimps/Lick Her Store/Wettin’ His Hand/Diana Ducks Out 2:12
22. Juke Box/Hands in the Box 2:31
23. Shaft 2:53
24. Iggie’s Tail 2:21
25. Kyle Goes Down/Case Dismissed 1:21

Total Time: 27:52

26. Opening 1:57
27. He’s the Best/Reenact/Good Day 2:38
28. Travel Shaft 0:42
29. Coffin Time 1:34
30. To the Club 1:22
31. Ann Appears/Shaft Gets It 2:14
32. Jacquard 2:31
33. Dart Board/Kissin’ Time 3:09
34. Omelette 1:55
35. Cheek Pat/Don’t Shoot/Shaft’s Move 1:05
36. Funny Time 0:58
37. At the Club 2:12
38. Ending 1:49

Total Time: 24:29

“The Kidnapping”
39. Chasin’ Shaft 3:00
40. Sleep, Dog, Sleep 1:37
41. Here Comes the Fuzz 2:11
42. I Said Goodnight/Walkie Talkie 3:46
43. Shoot Out 2:34

Total Time: 13:17

“The Cop Killers”
44. Rossi Gets It/Hospital/Who the Hell Are You 2:06
45. Honky Horn 1:22
46. Sleeping Pigs 1:35
47. Splash Time 1:32
48. Shaft Gets It 1:50
49. Vacate the Van 1:41
50. Fork Lift 2:09
51. Shaft Theme (End Credit Version) 0:30

Total Time: 12:54

Total Disc Time: 78:49
“They say that cat is a bad mother—”

Yes, they’re talking about Shaft! On the famous record album, the lyric is “that cat Shaft is a bad mother—.” However, the name “Shaft” is omitted above because this is the film version of the legendary score—not the familiar record album—and this is one of many differences, both subtle and large, in the two versions of Isaac Hayes’s seminal work. This pioneering 3CD set features the previously unreleased original soundtrack to the 1971 Shaft along with music from the sequel, Shaft’s Big Score!, and 1973-74 TV series. It is the Shaft Anthology: His Big Score and More!

Shaft is one of the landmark characters and films not just of 1970s “blaxploitation” cinema but all of pop culture. For the first time, a black leading man (provocatively named and dynamically played by Richard Roundtree) talked back to white authority and acted like a cool James Bond who did whatever he wanted...and he was the hero. The character starred in seven novels, three feature films (with a fourth in recent years) and a TV series. FSM has compiled the best of Shaft’s 1970s previously unreleased-on-CD soundtracks as follows:

The original 1971 Shaft was one of the seminal films of “blaxploitation” movement, as Shaft gets involved in the Harlem rescue effort of a gangster’s kidnapped daughter. The score by Isaac Hayes not only set trends in film music but pop and R&B, with its spoken/sung lyrics, disco-era wah-wah guitar and high-hat cymbals, and lush, soulful orchestrations. The soundtrack was widely distributed on a 2LP set (later a CD) by Enterprise (Hayes’s personal label on Stax Records) but that was a re-recording done in Memphis. For the first time, this CD presents the original Hollywood-recorded film score featuring primordial versions of the source cues as well as all of the dramatic underscoring (little of which was adapted for the LP). It is a fascinating glimpse into Hayes’s creativity and an important archiving of this legendary work. As a bonus, disc one of this collection adds Hayes’s two singles released in 1972 related to M-G-M productions: “Theme From The Men” (a TV theme) and “Type Thang” (used in Shaft’s Big Score!).

The second Shaft film, Shaft’s Big Score! (1972), was scored by the director of the first two installments, Gordon Parks, when Hayes was unavailable. Parks was a multitalented musician, poet, author and photographer, in addition to filmmaker, who had scored his directorial debut, 1969’s The Learning Tree, and was technically assisted on his film scores (as was Hayes on Shaft) by Tom McIntosh. The Shaft’s Big Score! soundtrack called upon an earlier, Duke Ellington-style of sophisticated jazz compared to Hayes’s Memphis-style R&B, with a bravura climactic chase (“Symphony for Shafted Souls”) that has long made the soundtrack LP a treasured collectible. The complete soundtrack is presented here.

The third Shaft film, Shaft in Africa (1973), is not presented here for licensing reasons (though most of it was included on a 1999 compilation, The Best of Shaft). That film’s composer, Johnny Pate—the brilliant arranger for Curtis Mayfield on Superfly and other projects—returned for the short-lived Shaft TV series in 1973-74 (starring Roundtree), which had seven 90-minute episodes produced for CBS. Pate provided inventive adaptation of Hayes’s “Theme From Shaft” as well as his own groovy and suspenseful scoring—from an era in which most TV crime music sounded like Shaft, this is, delightfully, the real thing. Pate provided three full scores and two partial scores for the Shaft series (with the rest tracked with earlier cues), almost—but not all—of which are presented at the end of disc two and all of disc three of this set.

This entire collection is in excellent stereo sound, meticulously remixed from the first-generation M-G-M session masters. There are lots of afros in Joe Sikoryak’s art direction. The comprehensive liner notes are by Lukas Kendall.

Uploaders comment:
Complete with reel spins, unreleased material, 30 page full color liner notes and film facts. Collectors item most definately. Even if you already have the original scores, this is a perfect companion. Completely revamped unissued original 92 tracks total with informative liner notes chock full of pics. I felt blessed to add it to my collection and I think the peeps here will too. Peace

Contributed by Visuals

Link to movie review:Gordon Parks - Shaft (1971)

Friday, January 9, 2009

How To Eat Your Watermelon In White Company (And Enjoy It) (2005)

  • Mario Van Peebles
  • Spike Lee
  • Gordon Parks
  • Gil-Scott Heron
  • Woodie King, Jr.

I thought about it for a minute....... nah! I could conjure some clever unique style of critique of this film but I won't even do it.

The genuine article at best talks about his exploits better than anyone could but his children, business partners and key women in his life account for a few pivotal moments that is sure to blow your mind to what "MVP" has accomplished beyond what the general public acknowledges him for.

For any of you who do check this out, please share your amazement at how much of a fearless maverick, revolutionary artist and master marketer this Man was and is to this "Blaxploitation" movement we document and towards "The Movement of movement" in general. This doc is a Baaadaaassss Song of an equally incomparable badass Brother.

Thursday, January 8, 2009

Chisholm '72: Unbought & Unbossed (2004)

  • Shirley Chisholm
  • Ronald Dellums
  • Susan Brownmiller
  • Amiri Baraka
  • Reverend Walter Fauntroy and
  • Octavia Butler
In 1968, Shirley Chisholm becomes the first black woman elected to Congress. In 1972, she becomes the first black woman to run for president. Shunned by the political establishment, she's supported by a motley crew of blacks, feminists, and young voters. Their campaign-trail adventures are frenzied, fierce, and fundamentally right on!

Featuring stirring archival footage, period music, interviews with supporters, opponents and observers, and Chisholm's own commentary — then and now — "CHISHOLM '72" is a remarkable recollection of a campaign that broke new ground in politics, and truly reached out to 'the people.'

That Man Bolt (1973)


Before "that man" from Jamaica Usain Bolt took over the track & field scene in China last year, there was another Bolt.......... Jefferson Bolt. Fred Williamson chop-sockeys his way through this popular blaxploitation adventure as Jefferson Bolt, a Kung Fu expert assigned to deliver a cool $1 million to Mexico City from Hong Kong with a stop in Los Angeles. When Bolt discovers the cash is dirty mob money and his gal has been killed, he heads back to the Far East to get even.