SWEET SWEETBACK'S BAADASSSSS Song birthed a musical genre as diverse as its cinematic half. Cutting a blaxploitation OST (original soundtrack) became a perquisite for prominent black musicians in the early 1970s: from Bobby Womack (Across 110th Street) to Barry White (Together Brothers). The careers of Shaft's Isaac Hayes and Superfly's Curtis Mayfield were virtually defined by their seminal soundtracks. From the hundred-plus blaxploitation-era OSTs to choose from, here are a few to get your collection started.

Melvin Van Peebles with Earth, Wind and Fire, Sweet Sweetback's Baadasssss Song (1971) 'Nuff said.

(tie) Isaac Hayes, Shaft (1971) and Curtis Mayfield, Superfly (1972) This pair is a no-brainer – they define the genre itself with their sound (Hayes) and social commentary (Mayfield). Standout songs: Shaft's main theme was covered by dozens, but the mellow magic of "Ellie's Love Theme" is far more pleasurable (and less laborious). On Superfly, almost every song is a classic, but "Freddie's Dead" pulses with urgency.

Marvin Gaye, Trouble Man (1972) That Gaye's sole OST should be called Trouble Man is an apt irony. The album is rich with moments of fierce drama and indigo soulfulness, but it's Gaye's searing falsetto that ultimately haunts this moody album the most. Standouts: " 'T' Plays It Cool" is a timeless dance-floor winner, while the poignant "Trouble Man" is one of Gaye's definitive vocal performances.

Roy Ayers, Coffy (1973) Ayers's only soundtrack, Coffy is arguably one of the prolific jazz leader's best works. His signature vibraphones give the album a distinctive texture on the instrumental scores, but vocal songs like "Coffy Is the Color" are most indelible. Standouts: the infectiously joyous "Coffy Is the Color" is one of the best songs from the era, while the unsung "Brawling Broads" is sublime.

James Brown, Black Caesar (1973) The tight fit between the Godfather of Funk and blaxploitation should surprise no one, but Black Caesar exceeds even high expectations. Brown smokes on vocal tracks like "The Boss" and bluesy "Like It Is, Like It Was," and arranger Fred Wesley keeps the rhythm in the pocket on the instrumentals, especially the relaxed "Sportin Life." Standouts: the album's opus "Down and Out in New York City" is a stone-cold J.B. classic, but hip-hop producers can't seem to stop sampling the funky, divine "Blind Man Can See It."

Lalo Schifrin, Enter the Dragon (1973) Bruce Lee's breakout kung fu flick may not map as blaxploitation for some purists, but listen to Schifrin's dramatic brass and percussion on the main theme, and it's obvious where his musical cues derive from. His score is an intriguing mix of dark funk and spy themes with a packet of Oriental flavoring sprinkled on. Standouts: although the hi-yas! of "Theme from Enter the Dragon" are memorable, the sinister, slinky feel of "The Human Fly" sounds like the best Ennio Morricone score he never wrote.

For more information go to www.blaxploitation.com.