If you grew up in the early 2000s, you remember the vibe. It was an era of oversized jerseys, butterfly clips, and a specific kind of slick, high-gloss R&B that defined Black cinema. Mark Brown’s 2001 rom-com Two Can Play That Game was a massive moment for Vivica A. Moore and Morris Chestnut, but honestly, it’s the music that stays stuck in my head. The Two Can Play That Game soundtrack wasn't just background noise for Shante Smith’s "Ten Day Plan." It was a curated time capsule of a very specific sound—a bridge between the smooth 90s soul and the digitised, heavy-bass R&B that was about to take over the airwaves.
Music matters.
Think about the scene where Vivica is explaining her rules. If you swap out the track for something modern, the whole authority of the character shifts. That’s the power of a well-assembled OST. In 2001, soundtracks were still a primary way for labels to break new artists or give established stars a place to experiment with mid-tempo grooves that didn't necessarily fit a radio-first solo album.
The Sound of the Early Aughts: Breaking Down the Tracklist
Usually, when people talk about this era, they go straight to Waiting to Exhale or Love & Basketball. Those are the heavy hitters. But the Two Can Play That Game soundtrack deserves a seat at the table because it leaned into the "urban sophisticated" aesthetic without being pretentious. It felt like a night out in Atlanta or D.C.
You’ve got the lead single, "It’s Over Now" by 112. It was everywhere. It peaked at number one on the Billboard Hot R&B/Hip-Hop Singles & Tracks. The song is a masterclass in Bad Boy Records-era production—jagged, catchy, and deeply relatable to anyone who has ever had to tell a partner to pack their bags. It set the tone for the entire film’s "battle of the sexes" theme.
Then there’s the soulful depth of Musiq Soulchild. His contribution, "Girl Next Door," features Ayana. It’s a softer, more grounded contrast to the more aggressive "rules" of the movie. It reminds the listener that beneath the games and the manipulation, there’s actually a desire for real connection.
Why "It's Over Now" Still Works
Most songs from 2001 sound dated the second the beat drops. Not this one. 112 had a way of blending vocal harmonies that felt timeless even when the production was very "of its time." It captures that specific feeling of Shante Smith feeling like she’s won the game, even when we, the audience, know she’s probably playing herself.
The Unsung Heroes of the Soundtrack
A lot of folks forget that soundtracks back then were often the first place we heard certain collaborations. You had Case on there with "A Little Luck." Case is one of those R&B voices that never quite got the "legend" status of an Usher or a Maxwell, but he never missed on a movie track. His voice is like warm honey over a mid-tempo drum machine.
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Then you have a bit of a curveball with "Two Can Play That Game" by Bobby Brown. Now, wait a minute. This wasn't a new track for the movie. This was a remix of his 1994 hit. Including it was a smart move by the music supervisors because it grounded the movie in a legacy of "relationship music." It tied the new school (112, Musiq) to the old school (Bobby, the New Edition lineage).
There's a specific texture to these songs. They aren't overproduced like some of the stuff we hear today. You can hear the space between the notes. You can hear the actual singers breathing.
Production and Sentimentality
What’s interesting is how the Two Can Play That Game soundtrack handled the transitions. Most people don't realize that the album was released under the MCA label. At the time, MCA was a powerhouse for this specific brand of soul.
- The Highs: 112's chart dominance.
- The Lows: Some of the deeper cuts, like "What's My Name" by K-Ci & JoJo, felt a bit like leftovers from their solo sessions, though their vocal performance is still undeniably powerful.
- The Surprise: High Five’s "I Like It" added a youthful energy that kept the album from feeling too "grown and sexy" for the younger demographic.
The mix was deliberate. It was designed to be played at a house party while people were getting ready to head to the club. It's pre-game music.
Comparing This to Other Rom-Com Scores
If you look at Brown Sugar (2002) or The Wood (1999), those soundtracks were heavily focused on Hip-Hop as a cultural pillar. Two Can Play That Game was different. It was purely about the R&B. It reflected Shante's world: professional, polished, and slightly manicured.
The music is as much a character as Morris Chestnut’s Keith Fenton. When Keith is being charming, the music is smooth. When things go sideways, the production gets a bit more frantic.
It’s actually kinda rare to see a soundtrack hold up this well. Usually, you’ll find one or two hits and the rest is "filler." On this record, the filler is actually just good R&B. You could put the whole thing on shuffle during a road trip and not feel the need to skip every other song.
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The Cultural Impact and Legacy
Does the Two Can Play That Game soundtrack change the world? No. But it perfectly documented a moment when Black romantic comedies were at their peak and the music industry was willing to spend money on high-quality companion albums.
Today, we mostly get "curated playlists" on Spotify for movies. Back then, you bought the CD. You looked at the liner notes. You saw who produced what. You saw the "Special Thanks" sections. There was a tangible connection to the art.
Honestly, the soundtrack captures the arrogance of the characters. Shante and Keith are both convinced they are the smartest person in the room. The music reflects that confidence. It’s bold.
A Quick Look at the Tracklist Highlights:
- "It's Over Now" – 112 (The anthem)
- "Girl Next Door" – Musiq Soulchild feat. Ayana (The heart)
- "Two Can Play That Game" – Bobby Brown (The throwback)
- "A Little Luck" – Case (The vibe)
- "Love Don't Love Me" – Eric Benét (The reality check)
You’ve probably heard "Love Don't Love Me" on a random "Early 2000s R&B" playlist lately. It has that classic Eric Benét smooth-operator feel, but there’s a bitterness in the lyrics that fits the movie’s plot perfectly. It’s about the realization that the "game" of love isn't always fair.
Misconceptions About the Movie Music
One thing people get wrong is thinking this was a "Hip-Hop" soundtrack. Aside from a few rhythmic flourishes, it’s a Soul record. It was marketed to a more mature audience than the teen-slasher soundtracks of the late 90s.
Another misconception is that the soundtrack was just a vehicle for 112. While they were the biggest name at the time, the inclusion of artists like Shawn Desman and Dave Hollister showed a commitment to a broader R&B spectrum. Dave Hollister’s "Keep on Lovin' You" is a sleeper hit that many people rediscover years later and wonder why it wasn't a bigger solo radio success.
Why We Don't Get Soundtracks Like This Anymore
Basically, the economics changed. Streaming killed the soundtrack album. Why would a label put 12 new songs on one disc when they can release them as singles over six months? The Two Can Play That Game soundtrack represents the end of an era where a movie was a massive "event" that required a full musical accompaniment.
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It also helped that the movie was a hit. It made nearly $22 million on a relatively small budget. When a movie does well, the music gets a second life in rotation.
Revisiting the Tracks in 2026
If you go back and listen now, you’ll notice the drum programming sounds very "hardware-heavy." This was before everything was made in a simple laptop setup. There’s a weight to the kicks and a crispness to the snares that feels intentional.
You’ve got to appreciate the sequencing, too. The album doesn't start at 100 mph and then die down. It fluctuates. It moves like a relationship—starting with the "breakup" energy of 112 and ending with more contemplative tracks.
It’s easy to dismiss rom-com music as "cheesy," but there’s nothing cheesy about Musiq Soulchild’s vocal runs or the production quality MCA brought to the table. This was top-tier talent at their physical and vocal peaks.
Actionable Insights for Your Next Listen:
- Deep Dive: Skip the singles and go straight to the Dave Hollister or Case tracks. They provide the actual "soul" of the film that the radio hits sometimes overlook.
- The Remix Factor: Hunt down the various remixes of "It's Over Now." The Bad Boy era was famous for having five different versions of every song, and some of the club mixes are actually superior to the album version for a workout or a party.
- Contextual Watching: If you haven't seen the movie in a decade, watch it again but pay attention to how the music fades in during the "Ten Day Plan" segments. The timing is almost operatic.
- Playlist Creation: Use these tracks as a foundation for a "Sophisticated 2000s R&B" playlist. They pair perfectly with tracks from the Deliver Us From Eva or The Best Man soundtracks.
The reality is that music like this doesn't age because the emotions—heartbreak, ego, and the desire to win—don't age. The Two Can Play That Game soundtrack is more than just a marketing tool; it's a reminder of a time when R&B was the undisputed king of the charts and movies knew exactly how to use it.