Additional Information from Movie Mars
Product Description
Producers include: Davina Bussey, Ron Fair, John Clayton, Sean "Puffy" Combs, Chico DeBarge.
Engineers include: Bernard Terry, Michael C. Ross, Axel Niehaus, Eric Sarafin, George Myers.
Original score composed by Elmer Bernstein.
Personnel: Cool Breeze, Rahsaan Patterson, Big Boi (vocals); David Foreman , Peter Moore, Ray Bailey, Ron Eschete, Wah-Wah Watson (guitar); Tony Rich (strings, piano, background vocals); Carl Randall, Jr., Danny House, Rastine Calhoun III, Rickey Woodard (saxophone); Jeff Clayton (alto saxophone); Clay Jenkins, Nolan Shaheed, Oscar Brashear, Snooky Young, Charlie Davis (trumpet); George Bohannon, Duane Benjamin, Thurman Green, Maurice Spears, Ira Nepus (trombone); Jim Slattery, Bill Cunliffe (piano); Kenneth Crouch (keyboards, programming); Derek "D 'Loc" Walker (drums, percussion); Chico DeBarge (drums, programming, background vocals); George Taggart (drums, programming); Jeff Hamilton (drums); Davina Bussey (programming); El DeBarge, Erykah Badu, Big Bub (background vocals).
Audio Mixers: Davina Bussey; Eric Sarafin; George Meyers; Booker T. Jones III; Michael Ross ; Jean-Marie Horvat; Alvin Speights; Mr. DJ; Organized Noize; Serban Ghenea; Teddy Riley; Tim Latham; Tony Maserati ; Bernard Terry; Leslie Brathwaite; John Hanes .
Recording information: Battery Studio, N.Y.C., NY; Capitol Studios, Hollywood, CA; Cutting Room, N.Y.C., NY; Daddy's House Recording Studios, N.Y.C., NY; Dallas Sound Lab, Dallas, TX; Doppler & Lacoco Studios; Future Studios, Virginia Beach, VA; Phat Tracks Recording Studio, Brooklyn, NY; Purple Dragon Recording Studio, Atlanta, GA; Red Zone Studios, Burbank, CA; Silver Sun Recording, Flint, MI; Village Records, Santa Monica, CA.
Unknown Contributor Role: Shakim Compere.
Arrangers: Davina Bussey; John Clayton; Kenneth Crouch.
The decade of the 1990s was rarely kind to Elmer Bernstein, but the little-known Hoodlum is one of his last great film scores, embracing the composer's past genre efforts from mystery to westerns to create a work of tough-minded elegance. With its noir-inspired saxophones and nimble pianos, the music possesses the jazzy sophistication one anticipates from a period-themed crime film, but Bernstein also incorporates more idiosyncratic elements like mystical woodwinds to upset those same expectations -- no less delightful are full-blown genre detours like "From the Womb to the Tomb," which reprises classic Bernstein western themes of yore, and "Goodbyes," which nods to his work on Cape Fear. A bright spot in an otherwise disappointing decade. ~ Jason Ankeny
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