This double LP, released on Stax Records' Enterprise label in 1971, was the follow-up to Hayes' successful soundtrack for Shaft. Black Moses features Hayes' version of The Jackson 5's hit single 'Never Can Say Goodbye' which became a hit in its own right, peaking at number 22 on the Billboard Hot 100. The sheer front-to-back strength of this double-LP set has made Black Moses one of Isaac Hayes' most enduringly revered and best-known works. A watershed album for the multi-instrumental … MORE
MORE RELEASES FROM ISAAC HAYES
Of the many wonderful blaxpoitation soundtracks to emerge during the early '70s, Shaft certainly deserves mention as not only one of the most… More
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… More
Hot Buttered SoulFour-song long-player ushered in the era of album-oriented soul with hits "By the Time I Get to… More
2009 installment in the popular For Lovers series featuring romantic performances from one of the music world's most iconic performers.. More
Stax Reissues Isaac Hayes' Shaft In Deluxe Edition. Digitally Remastered With Bonus material And Extensive Liner Notes. More
Isaac Hayes' legendary Hot Buttered Soul album reissued on Stax with two bonus tracks and digital remastering. More
Stax reissues Hayes' 1976 album, "Juicy Fruit (Disco Freak" on CD for the first time. More
Stax Records Reissues Isaac Hayes' "Black Moses" album on CD in Deluxe Edition with extensive liner notes. More
Isaac Hayes's first album, Presenting Isaac Hayes, was a low-budget, jazz-imbued affair recorded on the spur of the moment with only bass and… More
This 24-bit remastered disc is a career-spanning collection of 18 greatest hits including “Theme from Shaft,” “Walk On… More
ABOUT ISAAC HAYES
Isaac Hayes, dubbed “Black Moses” during the height of his popularity, revolutionized soul music, leading it out of the era of the three-minute single into two new areas—the completely-orchestrated concept album with extended cuts and the black motion picture soundtrack.
Hot Buttered Soul, released on the Enterprise label in 1969, contained only four cuts, and one, “By the Time I Get to Phoenix,” was over 18 minutes long. It not only became the first album to go gold for Stax Records, it hit platinum.
The soundtrack from the 1971 motion picture Shaft was Hayes’s fourth consecutive platinum LP and the “Theme from Shaft” earned him an Academy Award for Best Original Song. That success opened the door for others, like Curtis Mayfield and Norman Whitfield, to write for the screen.
“I was knocked by some critics at that time saying, ‘Who does he think he is, taking horns and strings and putting them on top of funky rhythm tracks?’ But that was the way I felt and now it’s the going thing,” Hayes recently told Black Music & Jazz Review’s Adam Finn.
Hayes was born on a farm in Covington, Tennessee, 30 miles north of Memphis. While still an infant, his mother died and his father deserted Isaac and his older sister, who were left to be raised by their sharecropping grandparents.
As a child, Hayes learned to live with an empty stomach and loneliness. “I remember dreaming about having decent clothes to wear, a warm place to sleep, and a nice square meal,” he once recalled.
He moved to Memphis with his grandparents when he was seven. Then his grandfather died, and at age ten, Isaac suddenly became the man of the house.
“I worked and went to school simultaneously,” he remembered. “In school, I joined the junior high school band just to have access to the musical instruments.”
As a Brook Benton imitator, Hayes began his recording career in 1962, cutting a couple of sides (one as “Sir Isaac and the Do-Dads”) for obscure Memphis companies. They were flops and the poverty continued until he met insurance salesman David Porter.
Hayes began playing piano on sessions for Stax Records, while he and Porter wrote and produced songs for such Stax/Volt artists as Johnnie Taylor, Mabel John, Carla Thomas, and, particularly, Sam and Dave. The Sam Moore-Dave Prater singing duo joined the Isaac Hayes-David Porter songwriting/producing duo to form a team that wouldn’t stop making hits—”You Don’t Know Like I Know,” “Hold On! I’m Comin’,” “You Got Me Hummin’,” “When Something Is Wrong With My Baby,” “Soul Man,”, and “I Thank You.”
Hayes’s first solo album, Presenting Isaac Hayes, was a low-budget, jazz-influenced set recorded on the spur of the moment following a Christmas party with only bass and drums accompanying his piano and voice.
The second, Hot Buttered Soul (with a close-up cover shot of his shiny beard-to-ear scalp), was something altogether different—a husky, very masculine baritone rapping and crooning intimately against a massive backdrop of strings and horns from the Memphis Symphony and a solid backbeat by the Bar-Kays. His new fans weren’t satisfied with the three-minute version of “By the Time I Get to Phoenix” issued on a 45; they had to have his whole sexy rap in order to be satiated. Many who had never invested in an LP before rushed to get all 18 minutes and 40 seconds of Hayes’s epic performance of Jim Webb’s tune and also discovered an equally sensuous 12-minute reading of Burt Bacharach and Hal David’s “Walk On By” with its compelling fuzz-toned guitar riff.
Other classic albums followed—The Isaac Hayes Movement (featuring “I Stand Accused”), To Be Continued (featuring “Never Can Say Goodbye”), Shaft (a two-disc set), Black Moses (the poster cover, which depicted Hayes in a long, hooded robe standing on river bank with arms outstretched, unfolded in the shape of a cross three feet wide and four feet tall), and Joy.
Isaac Hayes had become soul music’s first superhero. He was a young black man who had risen from poverty to prove he could do everything musically—sing, play (keyboards, vibes, alto sax), produce, compose, arrange, and score motion pictures.
Following his triumphant appearance in the Wattstax extravaganza, Hayes launched an acting career. He played in Truck Turner (also handling the score), Three Tough Guys, and It Seemed Like a Good Idea at the Time, and was seen as a semi-regular in NBC-TV’s Rockford Files.
After leaving Stax, Hayes recorded three solo albums for ABC and one for Polydor, plus a double album of duets with Dionne Warwick for ABC. Stax revived this year by Fantasy/Prestige/Milestone, recently issued Hotbed, an album of previously unreleased Hayes material.