Greatest Hit Singles

Isaac Hayes

Greatest Hit Singles LP MPS 8515
  • CAT # MPS-8515

    DISC ONE  
    1. By The Time I Get To Phoenix 6:58
    2. Walk On By 4:32
    3. I Stand Accused 4:07
    4. The Look Of Love 3:20
    5. Never Can Say Goodbye 3:36
    6. Theme From "Shaft" 3:15
    DISC ONE  
    1. Do Your Thing 3:19
    2. Let's Stay Together (Instrumental) 3:35
    3. Ain't That Loving You (For More Reasons Than One) 4:22
    4. Theme From "The Men" (Instrumental) 4:00
    5. (If Loving You Is Wrong) I Don't Want To Be Right 4:45
    6. Joy (Part 1) 4:41

ne of the best-available Isaac Hayes compilations, Greatest Hit Singles bypasses a couple of his later disco hits, but the result is a more unified sound that helps illustrate why Hayes was so important to the development of '70s soul. Of course, a major part of his legacy consists of the epic-length suites that helped usher R&B into the album age, and that facet of his work is necessarily underrepresented here. But as a concise, easily digestible introduction to Hayes' work, Greatest Hit Singles is indispensable. Hayes may have been a master of mood and flow when he crafted his albums, but his innovative, slow-building style also lent itself to indulgence. Greatest Hit Singles presents just what the title suggests -- the single versions of these songs, which prune away Hayes' excesses and boil his core sound down to the bare essentials. Even if this doesn't capture the full scope of his talents, it still gives a sense of Hayes' genius as an arranger and the groundwork he laid for the R&B love-man archetype. There's only one of his trademark 'raps' here, on By the Time I Get to Phoenix, which is slimmed down to seven minutes. Everything else clocks in under five, which usually involves heavy editing. Oddly, for one of the most accomplished soul songwriters of the '60s, Hayes' solo hits tended to be covers; only four of the 12 tracks here are Hayes originals, and two of those were movie themes. His vision as a solo artist lay more in the elaborate presentation and, often, re-imagination of his repertoire.

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