Isaac Hayes-1969-1972.
Isaac Lee Hayes Jr was born on 20th, August 1942 in Covington, Tennessee. He was the second child of Eula and Isaac Lee Hayes Sr. However, tragedy struck when Hayes' mother died when he was young. The situation got even worse when his father abandoned his young family.
Fortunately, Hayes' maternal grandparents Mr. and Mrs. Willie Wade Sr. brought their grandchildren family up. Hayes grew in the Tennessee counties of Shelby and Tipton and worked on local farms. This was also where his musical career began.
Aged just five, Hayes started singing in the local church choir. Growing up, he taught himself to play piano, Hammond organ, flute and saxophone. Little did Hayes realise that he would eventually make a career out of music.
Hayes dropped out of Manassas High School, in Memphis, and got a job in a meat-packing plant. It was a case of needs must, as he had to support his closest family. At night, Hayes played in juke joints and nightclubs in northern Mississippi.
In the late fifties, Hayes made his debut as a singer at Curry's Club, in North Memphis. That night, he was backed by Ben Branch's houseband. Another alumni of Branch's band was Donald "Duck" Dunn, who joined the band in 1961. Later, he found fame with Booker T and The MGs at Stax, where he would work with Hayes. That was all in the future.
Before that, Hayes' former teachers at Manassas High School encouraged him to complete his high school. Belatedly, he graduated aged twenty-one. By then, he had already released his debut single.
This was "Laura (We're On Our Last Go Ro-Round)," which was released in 1962, on Chips Moman and Sy Rosenberg's Youngstown label. Although the single received some radio play and was popular in Tennessee, it failed to make an impression nationally. That would come later for Hayes.
By 1963, he was working as a session musician at Stax in Memphis. In January 1964, Hayes added the vocal to "Yank Me Doodle" by The Baracudas. However, most of his time was spent working as a session musician and as a songwriter.
However, in January 1964 "Sweet Temptation" was released as a single on Brunswick. On the B-side was Hayes' debut single "Laura (We're On Our Last Go Ro-Round)." The single failed commercially. Hayes continued to work at Stax.
Hayes worked with various songwriting partners, and also wrote many songs. Then between 1964 and 1969, Hayes forged a successful songwriting and production partnership with David Porter. The pair penned songs for Carla Thomas, Johnnie Taylor, The Soul Children, William Bell, The Emotions and Mable John. One of their most successful and iconic songs during Stax's blue label years was "Soul Man" which gave Sam and Dave a huge hit. This was one of the most successful of over fifty songs Hayes and Porter wrote. By the time their partnership came to an end, Hayes' had already embarked upon a solo career.
In 1965, Sir Isaac and The Do Dads released "Blue Groove" as a single on Volt. However, this mediocre bluesy instrumental failed to trouble the charts, and it was another three years before Hayes released another single.
This was "Precious Precious," a track from Hayes' debut album "Presenting Isaac Hayes." It was released in March 1968 and again, failed to trouble the charts. However, Hayes' debut album faired better, reaching 102 in the US Billboard 200 and twenty-five in the US R&B chart. His next album was the start of the most successful period of Hayes career at Stax.
Hayes released nine singles between 1969-1972. They were released on the Stax imprint, Enterprise.
Following the release of his debut album, Hayes demanded full that A&R executive granted him full creative control if he was going to record a followup. Bell agreed and this paid off.
Hayes released his sophomore album "Hot Buttered Soul" in June 1969. It was a landmark album that veered between symphonic soul to funk. Accompanied by The Bar Kays, Hayes recorded just four tracks that lasted over forty-five minutes. This seminal album was a future classic. It reached number eight in the US Billboard 200, topped the US R&B chart and was certified gold. There was also the small matter of two hit singles.
"Walk On By" and the Jimmy Webb composition "By The Time I Get To Phoenix" were released as a double-A side in July 1969. Both tracks had to be edited. The version of "Walk On By" on the album was edited from just over twelve minutes and three seconds to four minutes and twenty seconds. "By The Time I Get To Phoenix" which was 18.42 was edited to six minutes forty-five seconds. Both showcased Hayes new symphonic soul sound and were hit singles. "Walk On By" reached thirty in the US Billboard 100 and thirteen in the US R&B chart. "By The Time I Get To Phoenix" reached thirty-seven in the US Billboard 100 and US R&B charts. Hayes new sound was successful and Bell's decision to grant him full creative control paid off.
In November 1969, Hayes released "The Mistletoe And Me" as a single. It's a slice of festive symphonic soul, but was a weak track. Slightly better is the ballad on the B-Side, "Winter Snow." This festive single failed to chart, which must have been a disappointment to Hayes.
"The Isaac Hayes Movement" was the name given to Hayes' band by Marvell Thomas, and was also the title of his third album. It featured four cover versions, and was released to plaudits and praise in April 1970. Just like "Hot Buttered Soul," it was a polished album of complex symphonic soul. It also reached number eight in the US Billboard 200, topped the US R&B chart for seven weeks and was certified gold. This was Hayes' second gold album.
An edited version of "I Stand Accused" was released as a single in August 1970. The version on the album was eleven minutes and thirty-nine seconds, with a five minute spoken word intro. It was edited to six minutes and fifty seconds and features an impassioned and hurt-filled vocal by Hayes. On the B-Side is a beautiful seven minute symphonic soul cover of Bacharach and David's "I Just Don't Know What To Do With Myself." However, the single stalled at forty-two in the US Billboard 100 and twenty-three in the US R&B charts. Hayes' albums were more successful than his single.
That was the case with his fourth album "...To Be Continued." It was released to critical acclaim on November 28, 1970. The album which combined symphonic soul with jazz and funk reached number eleven in the US Billboard 200 and was his third consecutive album to top the US R&B. However, the singles didn't replicate this success.
The dramatic and sensual symphonic soul of "Ike's Mood Pt 1" was chosen as the single, but failed to trouble the charts. On the B-Side was a cover of Bacharach and David's classic "The Look Of Love." It was transformed into a heartfelt symphonic soul ballad, but stalled at seventy-nine in the US Billboard 100.
Hayes next single "Never Can Say Goodbye," was originally released as a standalone single in April 1971. By then, Hayes wife had filed for divorce and he delivers a soul-baring, needy vocal. On the B-Side was a cover of Hank Williams' "I Can't Help It (If I'm Still In Love With You" which was Hayes message to his estranged wife. The single reached twenty-two in the US Billboard 100 and five in the US R&B charts. It was Hayes most successful single. Not for long.
In July 1971, Hayes released "Shaft," the soundtrack to the blaxploitation movie being released Metro-Goldwyn-Mayer. Hayes had written and produced the fifteen tracks on the double album. It was a mixture of symphonic soul, funk and soul. The album was groundbreaking, a gamechanger that changed the way soul and funk albums were made. When "Shaft" was released it topped the US Billboard 100 and US R&B charts, and was certified gold. Across the Atlantic, the album reached seventeen in the UK. The album also featured Hayes' most successful single, "Shaft."
The uber funky and iconic title-track was released in September 1971. It reached number one on the US Billboard 100, two on the US R&B charts and was certified gold. "Shaft" was a hit in Belgium, Netherlands and reached number four in the UK. On the B-Side was the beautiful, meandering and melodic "Cafe Regio's" where symphonic soul meets jazz. It was the polar opposite of the high octane single.
For the followup, "Do Your Thing" was released as a single in February 1972. It's soulful, sensuous and funky. On the B-Side was "Ellie's Love Theme" a beautiful, pensive slice of symphonic soul where the vibes play a leading roll. Despite the quality of both sides, the single only reached thirty in the US Billboard 100, but reached three in the US R&B chart. However, "Shaft" had been Hayes most successful album, and introduced his music to a wider audience.
At the 1972, Grammy Awards, Hayes triumphed twice. He won a Grammys for the Best Instrumental Arrangement for "Theme from Shaft" and one for Best Original Score Written for a Motion Picture or a Television Special.
When Hayes released his fifth studio album, "Black Moses" on November 1, 1971, this album of cover versions reached number ten in the US Billboard 200. It was his fourth consecutive album to top the US R&B. Meanwhile in the UK, the album reached number thirty-eight. "Black Moses" failed to replicate the success of "Shaft" which nowadays, is regarded as a classic soundtrack.
After "Shaft," Hayes released two non-album singles. The first was a cover of "Let's Stay Together" which gave Al Green a number one single in 1972. His version is the definitive version. Hayes' cover is a smooth slice of symphonic soul. On the B-Side was the smooth, slinky soul of "Soulsville" from the "Shaft" soundtrack. The single was released in February 1972 and reached forty-eight on the US Billboard 100 and twenty-five on the US R&B charts. This was another disappointment for Hayes.
The second non-album single was the funky and soulful "Ain't That Loving You (For More Reasons Than One)" penned by Hayes and Porter. They duetted on the track and a disappointing cover of David Gates' "Baby I'm-A Want You." Bread's original is the definitive version of the track. When the single was released in April 1972, it stalled at eight-six on the US Billboard 100 and thirty-seven on the US R&B charts. It was another disappointment for Hayes.
Between 1969-1972, Hayes released some of the best singles and albums during his tenure at Stax. He was at the peak of his powers, releasing four studio albums and the "Shaft" soundtrack. Each of these albums topped the US R&B charts, and three were certified gold. Hayes was one of the most successful artists signed to Stax.
Many of the singles Hayes released were edited version of his new symphonic soul sound. Other edited versions were B-Sides. For many music fans they were an introduction to Hayes' music. Then when they bought the album the tracks were from, they were able to hear the tracks in all their glory. However, some music fans may prefer the edited version of the tracks. Many purists will prefer the full length tracks. It's down to personal preference. However, one thing that's indisputable is that Isaac Hayes was at the peak of his powers between 1969 and 1972.
Isaac Hayes- 1969-1972.
