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Soul - Erschienen am 1. August 1971 | Stax

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Soul - Erschienen am 1. Januar 2009 | Stax

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Soul - Erschienen am 1. Juli 1969 | Stax

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Released at the tail end of the '60s, Hot Buttered Soul set the precedent for how soul would evolve in the early '70s, simultaneously establishing Isaac Hayes and the Bar-Kays as major forces within black music. Though not quite as definitive as Black Moses or as well-known as Shaft, Hot Buttered Soul remains an undeniably seminal record; it stretched its songs far beyond the traditional three-to-four-minute industry norm, featured long instrumental stretches where the Bar-Kays stole the spotlight, and it introduced a new, iconic persona for soul with Hayes' tough yet sensual image. With the release of this album, Motown suddenly seemed manufactured and James Brown a bit too theatrical. Surprising many, the album features only four songs. The first, "Walk on By," is an epic 12-minute moment of true perfection, its trademark string-laden intro just dripping with syrupy sentiment, and the thumping mid-tempo drum beat and accompanying bassline instilling a complementary sense of nasty funk to the song; if that isn't enough to make it an amazing song, Hayes' almost painful performance brings yet more feeling to the song, with the guitar's heavy vibrato and the female background singers taking the song to even further heights. The following three songs aren't quite as stunning but are still no doubt impressive: "Hyperbolicsyllabicsequedalymistic" trades in sappy sentiment for straight-ahead funk, highlighted by a stomping piano halfway through the song; "One Woman" is the least epic moment, clocking in at only five minutes, but stands as a straightforward, well-executed love ballad; and finally, there's the infamous 18-minute "By the Time I Get to Phoenix" and its lengthy monologue which slowly eases you toward the climactic, almost-orchestral finale, a beautiful way to end one of soul's timeless, landmark albums, the album that transformed Hayes into a lifelong icon. © Jason Birchmeier /TiVo
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Soul - Erschienen am 1. Januar 1971 | Stax

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The sheer tenacity -- albeit undeniably fitting -- of this double-disc set has made Black Moses (1971) one of Isaac Hayes' most revered and best-known works. The multi-instrumental singer/songwriter and producer had been a central figure in the Memphis soul music revolution of the mid-'60s. Along with Booker T. & the MG's, Hayes wrote and performed on more Stax sides than any other single artist. By the time of this release -- his fifth overall, and first two-record set -- Hayes had firmly established himself as a progressive soul artist. His stretched-out and well-developed R&B jams, as well as his husky-voiced sexy spoken "raps," became key components in his signature sound. Black Moses not only incorporates those leitmotifs, but also reaffirms Hayes abilities as an unmistakably original arranger. Although a majority of the album consists of cover material, all the scores have been reconfigured and adapted in such a fundamental way that, for some listeners, these renditions serve as definitive. This is certainly true of the extended reworkings of Jerry Butler's "Brand New Me" and Esther Phillips' "You're Love Is So Doggone Good" -- both of which are prefaced by the spoken prelude to coitus found in each respective installment of "Ike's Rap." The pair of Curtis Mayfield tunes -- "Man's Temptation" and "Need to Belong to Someone" -- are also worth noting for the layers of tastefully scored orchestration -- from both Hayes and his longtime associate Johnny Allen. The pair's efforts remain fresh and discerning, rather than the dated ersatz strings and horn sections that imitators were glutting the soul and pop charts and airwaves with in the mid-'70s. Hayes' own composition, "Good Love," recalls the upbeat and jive talkin' "Hyperbolicsyllabicsesquedalymistic" from Hot Buttered Soul (1969), adding some spicy and sexy double-entendre in the chorus. © Lindsay Planer /TiVo
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Soul - Erschienen am 1. Juli 1974 | Stax

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This soundtrack was considerably lengthier and more varied than the one Hayes had released earlier in 1974 (Tough Guys), including Holiday Inn funk, a lugubrious vocal ("You're in My Arms Again"), and some jazz and blues riffs peppering the instrumental grooves. While the length ensured more variety, though, it also makes it a challenge to sit through the hour-plus program when you don't have images to fit the music. © Richie Unterberger /TiVo
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Soul - Erschienen am 1. März 1974 | Stax

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This 1974 soundtrack sounds pretty much like what you would expect -- period funk, mostly instrumental. It's much more effective as background to screen action than home listening, where it sounds like backing tracks in search of vocals, or incidental grooves that need much more flesh on their bones. © Richie Unterberger /TiVo
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Soul - Erschienen am 1. Januar 2009 | Stax

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Soul - Erschienen am 1. Januar 1970 | Stax

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Although this is Isaac Hayes' third long-player, he had long been a staple of the Memphis R&B scene -- primarily within the Stax coterie -- where his multiple talents included instrumentalist, arranger, and composer of some of the most beloved soul music of the '60s. Along with his primary collaborator, David Porter, Hayes was responsible for well over 200 sides -- including the genre-defining "When Something Is Wrong With My Baby," "Soul Man," "B-A-B-Y," "Hold On, I'm Comin'," and "I Had a Dream." As a solo artist however, Hayes redefined the role of the long-player with his inimitably smooth narrative style of covering classic pop and R&B tracks, many of which would spiral well over ten minutes. The Isaac Hayes Movement (1970) includes four extended cuts from several seemingly disparate sources, stylistically ranging from George Harrison's "Something" to Jerry Butler's "I Stand Accused" and even Burt Bacharach and Hal David's "I Just Don't Know What to Do With Myself." These early Hayes recordings brilliantly showcase his indomitable skills as an arranger -- as he places familiar themes into fresh contexts and perspectives. For example, his lengthy one-sided dialogue that prefaces "I Stand Accused" is halting in its candor as Hayes depicts an aching soul who longs for his best friend's fiancée. Even the most hard-hearted can't help but have sympathy pains as he unravels his sordid emotional agony and anguish. Hayes' lyrical orchestration totally reinvents the structure of "Something" -- which includes several extended instrumental sections -- incorporating equally expressive contributions from John Blair (violin). Both "I Just Don't Know What to Do With Myself" and the comparatively short (at under six minutes) "One Big Unhappy Family" are more traditionally arranged ballads. Hayes again tastefully incorporates both string and horn sections to augment the languid rhythm, providing contrasting textures rather than gaudy adornment. These sides offer a difference between the proverbial "Black Moses of Soul" persona that would be responsible for the aggressive no-nonsense funk of Shaft (1971) and Truck Turner (1974). © Lindsay Planer /TiVo
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Soul - Erschienen am 1. Januar 1982 | Stax

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Soul - Erschienen am 10. November 2017 | Stax

Booklet
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Soul - Erschienen am 18. Dezember 2015 | Stax

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Soul - Erschienen am 1. Januar 1970 | Stax

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Released in late 1970 on the heels of two chart-topping albums, Hot Buttered Soul (1969) and The Isaac Hayes Movement (also 1970), Isaac Hayes and the Bar-Kays retain their successful approach on those landmark albums for To Be Continued, another number one album. Again, the album features four songs that span far beyond traditional radio-friendly length, featuring important mood-establishing instrumental segments just as emotive and striking as Hayes' crooning. Nothing here is quite as perfect as "Walk on By," and the album feels a bit churned out, but To Be Continued no doubt has its share of highlights, the most notable being "You've Lost That Lovin' Feelin'." The album's most epic moment opens with light strings and horns, vamping poetically for several minutes before Hayes even utters a breath; then, once the singer delivers the song's orchestral chorus, the album hits its sentimental peak -- Hayes elevating a common standard to heavenly heights once again. Elsewhere, "Our Day Will Come" features a nice concluding instrumental segment driven by a proto-hip-hop beat that proves just how ahead of his time Hayes was during his early-'70s cycle of Enterprise albums. It's tempting to slight this album when holding it up against Hayes' best albums from this same era, but a comparison such as this is unfair. Even if Ike isn't doing anything here that he didn't do on his two preceding albums -- Hot Buttered Soul, The Isaac Hayes Movement -- and isn't quite as daring as he is on his two successive albums -- Black Moses, Shaft -- To Be Continued still topples any Hayes album that came after 1971. It didn't top the R&B album chart for 11 weeks on accident -- this is quintessential early-'70s Isaac Hayes, and that alone makes it a classic soul album. © Jason Birchmeier /TiVo
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Soul - Erschienen am 1. Januar 1973 | Stax

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You could expect Isaac Hayes to be in his element at a resort venue -- lounge soul was his forte, and this double album offers almost two hours of it. Hayes demonstrates his versatility by getting "Shaft" out of the way right off the bat and alternating between originals and covers of a wide range of tunes, including "Light My Fire," "Never Can Say Goodbye," "Rock Me Baby," "Stormy Monday Blues," "Feelin' Alright," and "It's Too Late" (yes, the Carole King song). Often these are linked together, of course, by Hayes' brotherly raps; for Bill Withers' "Ain't No Sunshine," he tests the limits, stretching the tune just past the ten-minute mark. © Richie Unterberger /TiVo
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Soul - Erschienen am 1. Januar 1995 | Virgin Records

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Joy

Soul - Erschienen am 1. Dezember 1973 | Stax

Hi-Res Booklet
With seven massive number one records trailing in his wake, Isaac Hayes donned his stylin', funky gold-chain link vest once again and capped 1973 with Joy, a set which might have proven the lucky-streak breaker -- it missed the top spot by one place -- but still waded into gold-record waters with ease. "Joy" itself, of course, was the album's crowning glory, a gargantuan 15-minute piece which essentially devoured side one of the album (the accompanying "I Love You That's All" is merely an afterthought). Heady, smoky, ubiquitous -- an instrumental and vocal foray into the land of good grooves -- it was sexy and sassy, with strings and innuendo stripped bare and smoothly built to lead anyone within earshot toward a classic climax. The song continued to impact via sampled revitalization from as far afield as TLC, Massive Attack, Eric B. & Rakim, and Big Daddy Kane. But don't forget that Joy is an entire album, with Hayes continuing his silky vocal assault across a further three slow, simmering songs. The best, and perhaps most interesting, is the closing "I'm Gonna Make It (Without You)." Markedly un-steamy, the song finds Hayes trading in his come-ons, choosing instead to open up and lay himself down in the wake of a broken romance. It's Joy's most touching moment, equally on par with the opener. Indeed, with those two glorious bookends, this album becomes a must-have for any '70s soul aficionado. © Amy Hanson /TiVo
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Soul - Erschienen am 1. Januar 1980 | Polydor

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Soul - Erschienen am 19. Mai 2017 | Stax

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Soul - Erschienen am 1. Januar 1975 | Stax

Hi-Res Booklet
A fine mid-'70s album on which Isaac Hayes adapted to the disco era. His productions were already ideal for dance floors, and he now updated his charts to include some stomping segments with horns and layered beats, while maintaining his soulful vocals on both up-tempo tunes and ballads. This album got two Top 20 hits for Hayes and was his last really big hit album in the '70s. © Ron Wynn /TiVo
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Soul - Erschienen am 1. Januar 1979 | Polydor

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Soul - Erschienen am 1. Januar 2003 | Stax

Der 20. August 1972 nimmt in der Geschichte der Afro-Amerikaner einen ganz besonderen Stellenwert ein, gab es an diesem Tag doch gleich zwei gute Gründe, mit Stolz auf die schwarze Tradition zu blicken. Zum einen feierten an jenem Hochsommertag in LA rund 100.000 überwiegend schwarze Amerikaner ihr Woodstock mit Auftritten von Rufus Thomas, Jimmy Jones, Eddie Floyd und vielen mehr. Zum anderen stand Isaac Hayes, der Black Moses, vor einer enthusiastischen Menge auf der Bühne und beging seinen 30. Geburtstag mit einem fulminanten Live-Auftritt, der in die Geschichtsbücher Eingang fand. Nun, mit 30-jähriger Verspätung schließt ZYX diese Lücke und macht den kompletten Auftritt von Hayes den Fans zugänglich. Man kann die spannungsgeladene Atmosphäre förmlich mit Händen greifen, wenn der Bürgerrechtler Reverend Jessie Jackson den 'Black Moses' mit den Worten ankündigt: "The Brother that all of us have been waiting for...I say Hayes...Yeah, yeah, yeah, yeah!" und im Hintergrund schon die ersten Töne von Hayes weltbekanntem "Theme From Shaft" erklingen und im grenzenlosen Jubel beinahe untergehen. Dass Wattstax nicht nur ein Liebe-Kiffen-Musik-Festival à la Woodstock war, wird schnell deutlich. Mit ernstem Understatement und einer den ganzen Gig hindurch präsenten Spiritualität begeistert Hayes seine Zuhörer. Er schreckt auch nicht davor zurück, mit sozialkritischen Stücken wie "Soulsville" die Stimme deutlich für die Anliegen der 'Black Community' zu erheben, was selbst Jahre nach dem Civil Rights Movement noch alles andere als eine Selbstverständlichkeit war. Mit zu den Highlights der Platte zählt sicherlich die zerbrechliche Interpretation des Jackson 5 Klassikers "Never Can Say Goodbye", bei der Hayes Band "The Movement" sich von ihrem charismatischen Frontmann emanzipiert und dem Song eine emotionale Tiefe verleiht, die einem die Nackenhaare aufstellt. Geschlagen wird "Never Can Say Goodbye" einzig durch das 17-minütige Cover des Bill Withers Song "Ain't No Sunshine", in den Isaac Hayes & The Movement einige Tackte von Ray Charles "Lonely Avenue" integrieren. Sydney Kirks angefunktes Piano trägt das Stück in den ersten Minuten und stellt dabei sogar Hayes soulige Stimme in den Hintergrund. Der lässt sich das nur kurz gefallen und übernimmt mit seinem Saxophon im Mittelteil wieder die Regie, bevor Background-Vocals und Congas den Track seinem Ende entgegen tragen. Jessie Jackson beschließt das Konzert mit einem intensiven politischen Gebet, das die Errungenschaften des Civil Rights Movement noch einmal ins Gedächtnis ruft und die schwarze Gemeinde zum weiteren Kampf für Gleichberechtigung auffordert. © Laut