Office Space [Soundtrack]

Amazon.com
Ice Cube's "Down for Whatever" is the highlight on Office Space's soundtrack, a classy West Coast production with just the right proportions of laid-back groove and simmering tension. Scarface turns in a credible enough track ("No Tears"), and the Geto Boys' impersonation of Bill Clinton at the end of "Damn It Feels Good to Be a Gangsta" is funny, though not terribly accurate. But Canibus and Biz Markie's attempt to rework David Allan Coe's "Take This Job and Shove It" into a hip-hop novelty hit falls flat, as does a similar effort by Lisa Stone at revitalizing "9 to 5." Two ancient Perez Prado mambos tacked on at the end of the album throw its already shaky continuity even further off course, but they're such great tunes that only a fool would bemoan their presence. --Charley Gothic

Office Space,Original Soundtrack,Interscope Records,Hip-Hop,Pop,Soundtrack,Soundtracks,Soundtracks & Film Scores,West Coast Rap

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Office Space [Soundtrack]

Average customer rating: Different, in a good way.. Almost as great as the movie Office Space - The Motion Picture Soundtrack Damn it feels good to be a gangsta help

Office Space: The Motion Picture Soundtrack Various Artists Manufacturer: Interscope Records ProductGroup: Music Binding: Audio CD General | Rap & Hip-Hop | Styles | Music West Coast | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music 1990s | By Decade | Soundtracks | Styles | Music $7.99 and Under | Blowout Music | Stores | Music Soundtracks | Styles | Blowout Music | Stores | Music Rap & Hip-Hop | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music $7.99 and Under | Prices | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Similar Items: Office Space - Special Edition with Flair (Widescreen Edition) The Office Space Kit Swingers: Music From The Miramax Motion Picture Clerks: Music From The Motion Picture The Big Lebowski: Original Motion Picture Soundtrack ASIN: B00000I5M4 Release Date: 1999-02-16

Tracks:

1. Shove This Jay-Oh-Bee - Canibus
2. Get Dis Money - Slum Village
3. Get Off My Elevator - Kool Keith
4. Big Boss Man - Junior Reid
5. 9-5 - Lisa Stone
6. Down For Whatever - Ice Cube
7. Damn It Feels Good To Be A Gangsta - Geto Boys
8. Home - Blackman, Destruct & Icon
9. No Tears - Scarface
10. Still - Geto Boys
11. Mambo #8 - Perez Prado
12. The Peanut Vendor - Perez Prado

Amazon.com

Ice Cube's "Down for Whatever" is the highlight on Office Space's soundtrack, a classy West Coast production with just the right proportions of laid-back groove and simmering tension. Scarface turns in a credible enough track ("No Tears"), and the Geto Boys' impersonation of Bill Clinton at the end of "Damn It Feels Good to Be a Gangsta" is funny, though not terribly accurate. But Canibus and Biz Markie's attempt to rework David Allan Coe's "Take This Job and Shove It" into a hip-hop novelty hit falls flat, as does a similar effort by Lisa Stone at revitalizing "9 to 5." Two ancient Perez Prado mambos tacked on at the end of the album throw its already shaky continuity even further off course, but they're such great tunes that only a fool would bemoan their presence. --Charley Gothic

Customer Reviews:

Different, in a good way.........2007-03-03

This is a GREAT CD, but only if you've seen the movie first. I mean, come on...it's a bunch of computer geeks listening to all this gangsta rap stuff! When you hear the songs on this CD, you'll immediately recognize ones from great scenes - Michael in the car in the traffic jam, them loading the virus, beating the crap out of the fax machine, and so on. Just hearing the songs will make you laugh because you can picture exactly what's happening in the movie at that point :-)

So get the CD if you've seen the movie and if you're ok with the CD being 90% rap. It's a great sampling of songs from the movie!

Almost as great as the movie.......2006-12-25

We all know how amazing this movie is, but the soundtrack can hold its own weight. Now if you have seen this movie, as I assume you have if you are reading this, you'll know that most of this soundtrack is rap music. Not just rap music, but most of it is gangsta rap. So, you'll need to appreciate that style of music to purchase this CD. There are 5 great rap songs on this CD from Ice Cube, Slum Village, Scarface, and The Geto Boys with 2.

If you love the songs with Michael Bolton rapping in his car, Peter Gibbons loading the virus disk onto the computer, the three of the guys destroying the printer, or when Peter takes over Initech then get this soundtrack. I warn you that there are fillers on this CD that should not be on this CD, but that comes with the territory of soundtracks.

Please do not purchase this CD if you only like the Perez Prado songs. These are the songs played during the traffic jam and when Milton is on the beach. Just go to itunes and spend the $2 necessary to own these songs.

All in all, you need to like rap in order to buy this CD or you're wasting your money. Watch the movie again and if you know you love the songs they play throughout the movie then buy the CD, it's the same music.

Office Space - The Motion Picture Soundtrack.......2006-11-10

I'm not a big rap fan but, I really like this soundtrack. I loved the movie and the tunes were impressive. However, not for the young, due to language. But, the music is great. I keep it in my car all the time.

Damn it feels good to be a gangsta.......2006-01-13

People buy movie soundtracks for one of two reasons: the liked the movie, or they liked a song or two they heard in the said movie they liked. This is a rare gem, for me, in that it was a movie that I absolutely loved but as I detest rap music I bought it anyway just to experience the movie again.

There is something very funny about a couple of white boys from the suburbs listening to rap / hip hop / gangsta rap and they don't have the slightest clue what life in the hood is like. I have no idea what it's like! I'm a white girl from the suburbs and I have no idea! But as they were a bunch of happy, bumbling fools whose only violent act was beating senseless a fax machine, there was something so funny about them listening to the Ghetto Boys and Ice Cube. Damn, it does feel good to be a gangsta...

help.......2005-06-12

please does anyone know the song damn it feels good to be a gangsta sampled? i took a look in the booklet but it doesn't list the name of the song but features stevie wonder and marvin gaye's names. please if anyone knows the song or songs it samples it would be greatly appreciated

Average customer rating: An eclectic mix of electroacoustic works

Sonic Circuits 5 Manufacturer: INNOVA ProductGroup: Music Binding: Audio CD Electronic | Instruments | Classical | Styles | Music | Computer General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Jazz | Styles | Music Similar Items: Sonic Circuits 4 ASIN: B00000F1TP Release Date: 1998-11-24

Tracks:

1. Minute Vars - Lawrence Fritts
2. Le Renard Et La Rose - Robert Normandeau
3. 112 Par Sko - Eirik Lie
4. Veni Creator Spiritus - Colby N. Leider
5. Office Furniture From Outer Space - Mike Olson/Richard Paske/Homer Lambrecht/Jason Goodyear
6. Radios Silent - Orchid Spangiafora
7. Jerry Hunt: Song Drape - Michael Schell
8. Soufle D'un Petit Dieu - Beatiz Ferreyra
9. Hard Cash (And Small Dreams Of Change) - Katharine Norman

Customer Reviews:

An eclectic mix of electroacoustic works.......2002-09-09

Each year, the American Composers Forum (ACF) produces an audio CD of recent electronic and electroacoustic music by composers from around the world, principally for distribution to radio stations and other recorded music venues. Each of these discs provides a snapshot of the current state of experimental electronic music, as well as a ready-made programme of works for broadcast or performance.

This fifth "Sonic Circuits" CD is the 1997 release from the ACF. One common theme running through most of the works on it is the use of vocal (or voice-like) material as a principal component. Most obviously, this is in the form of speech largely left raw and untreated, as with the spliced and looped radio broadcast samples which make up the entirety of Orchid Spangiafora's "Radios silent", or else the taped telephone conversations of Michael Schell's work, "Jerry Hunt: Song Drape 2", or the snippets of taped interviews juxtaposed with other processed sounds in Katharine Norman's "Hard Cash (and small dreams of change)".

Lawrence Fitts uses a one-minute spoken text by Australian sound poet Chris Mann as the source of his short series of variations, each the result of increasing amounts of processing, whilst a commercial recording by the Hilliard Ensemble provided Colby Leider with the source material for his heavily processed "Veni Creator Spiritus". Robert Normandeau draws on vocal samples of the actors from Odile Magnan's radio adaptation of Antoine de Saint-Exupéry's "Le petit prince"(together with his incidental music for that production) for his engaging piece of 'cinema for the ears', "Le renard et la rose".

Although not featuring real voices as such, both Eirik Lie's "112 Par Sko (112 pairs of shoes)" and Beatriz Ferreyra's "Soufle d'un petit Dieu distrait (The breath of a small, distraught god)" manage to give the impression of voices embedded within them. Eirik Lie's guitar work (commemorating the centenary of the terrible Verdal landslide of 1893 in which 112 Norwegians lost their lives) contains overtones of people's screams of terror, while the artificial electronic sound world of Beatriz Ferreyra's substantial composition carries various vocal connotations of a somewhat gentler (though still ominous) kind.

Despite this thin thread of commonality running through the works on this disc, though, the overall programme presented here never comes across as the slightest bit unified and I suspect that different listeners will point to different tracks as providing the best listening. To my mind, the most important works here are the three longest ones: "Le renard et la rose" was a 1995 ICMC commission, and continues Robert Normandeau's cycle of works inspired by vocal onomatopoeia which began with "Spleen" in 1991. This newer work is very much a continuation of the earlier and uses heavily processed and augmented vocal (but wordless) utterances to build pulsing rhythmic and sonic structures which speak directly of human emotions in a way that recognisable words never could. It is a powerful and potent acousmatic work indeed.

Similarly, the Argentinean-born composer Beatriz Ferreyra never fails to impress with her output. Her entirely synthetic (I'd guess) sound study here conjures all up manner of images, both light-hearted and vaguely threatening, suggestive, as is its title, of something partly comic, yet with the potential to be dangerously fey.

Using recorded interviews carried out on the streets of London, together with ambient sound recordings from the gaming arcades and fun-fair on Brighton Pier, as well as computer-processed samples of spinning coins, Katharine Norman's contribution builds an entertaining and illuminating portrait of late twentieth century attitudes to life in south-east England. This work would make an interesting coda to her earlier London triptych.

These three works aside, though, the disc strikes me as struggling ever to rise above mediocre - although this may simply be because the rest of the music is just not to my taste (although I have to confess a great liking for Eirik Lie's sombre electric guitar lament, which despite its brevity has some potent imagery woven through its dark and moving tapestry). And indeed, I would hazard that the variety of styles presented here works well for this disc's intended purposes; it would certainly be both unrealistic and misleading for the ACF to give the impression that all its members produce similar sounding music. As a source of a wide range of items for broadcasting use, therefore, this release should prove invaluable. Equally, this disc - together with the others in the series - should prove of worth to serious students of electroacoustic music of the end of the twentieth century and beyond; a fitting complement to the releases from the likes of CDCM, for instance. As an item for consumption at home, however, this disc may be less attractive. Anyone unfamiliar with the works here would be well advised to sample across quite a few of the tracks before deciding whether or not to purchase.

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