Hayes was born on August 20, 1942, in Covington, TN; his parents died during his infancy, and he was raised by his grandparents. After making his public debut singing in church at the age of five, he taught himself piano, organ and saxophone before moving to Memphis to perform on the city's club circuit in a series of short-lived groups like Sir Isaac and the Doo-Dads, the Teen Tones, and Sir Calvin and His Swinging Cats. In 1962, he began his recording career, cutting sides for a variety of local labels. Two years later, Hayes began playing sax with the Mar-Keys, which resulted in the beginning of his long association with Stax Records. After playing on several sessions for Otis Redding, Hayes was tapped to play keyboards in the Stax house band, and eventually established a partnership with songwriter David Porter. Under the name the Soul Children, the Hayes-Porter duo composed some 200 songs, reeling off a string of hits for Stax luminaries like Sam & Dave , Carla Thomas and Johnnie Taylor .
In 1967, Hayes issued his debut solo LP Presenting Isaac Hayes, a loose, jazz-flavored effort recorded in the early-morning hours following a raucous Stax party. With the release of 1969's landmark Hot Buttered Soul, he made his commercial breakthrough; the record's adventuresome structure (comprising four lengthy songs), ornate arrangements, and sensual grooves -- combined with the imposing figure cut by his shaven head, omnipresent sunglasses, and fondness for gold jewelry -- made Hayes one of the most distinctive figures in music. After a pair of 1970 releases, The Isaac Hayes Movement and To Be Continued, he reached his commercial zenith in 1971 with the release of Shaft, the score from the Gordon Parks film of the same name. Not only did the album win Hayes an Academy Award for Best Score (the first African-American composer to garner such an honor), but the single "Theme From 'Shaft,'" a masterful blend of prime funk and pre-rap monologues, became a number one hit.
After 1971's superb Black Moses and 1973's Joy, Hayes composed two 1974 soundtracks, Tough Guys and Truck Turner (in which he also starred). By 1975, relations with Stax had disintegrated following a battle over royalties, and soon he severed his ties with the label to form his own Hot Buttered Soul imprint. Although both 1975's Chocolate Chip and 1976's Groove-a-Thon went gold, his records of the period attracted considerably less attention than prior efforts; combined with poor management and business associations, Hayes had no choice but to file for bankruptcy in 1976, as they owed over $6 million. By the end of the bankruptcy proceedings in 1977, Hayes had lost his home, much of his personal property, and the rights to all future royalties earned from the music he'd written, performed, and produced.
With the 1977 double-LP A Man and a Woman, recorded with Dionne Warwick, Hayes began a comeback on the strength of the hit singles "Zeke the Freak," "Don't Let Go" and "Do You Wanna Make Love." Following the success of his 1979 collection of duets with Millie Jackson titled Royal Rappins, he issued a pair of solo records, 1980's And Once Again and 1981's Lifetime Thing before retiring from music for five years. After returning in 1986 with the LP U Turn and the Top Ten R&B hit "Ike's Rap," Hayes surfaced two years later with Love Attack before again dropping out of music to focus on acting. In 1995, fully enshrined as one of the forefathers of hip-hop and newly converted to Scientology, Hayes emerged with two concurrent releases, the vocal Branded and instrumental Raw and Refined. Under the official name Nene Katey Ocansey I, he also served as a member of the royal family of the African nation of Ghana while continuing simultaneous careers as an actor, composer, and humanitarian.
In 1997, Hayes provided the voice of what was slated to be a one-time character on the animated series South Park -- Jerome "Chef" McElroy, the main characters' favorite school cafeteria worker. Hayes was an instant hit, and Chef became a regular character on the show, lending advice and, oftentimes, breaking into songs that gently sent up Hayes' image as one of R&B's ultimate love men. South Park made Hayes more visible than ever and cemented his status as an icon with a whole new generation. He contributed the infamous "Chocolate Salty Balls" to the South Park tie-in album Chef Aid, and naturally appeared in the film South Park: Bigger, Longer, Uncut. In 2000, Hayes revisited his biggest triumph of the past by appearing in the remake of Shaft starring Samuel L. Jackson. The following year, he supported Alicia Keys as a musician and arranger on her acclaimed debut Songs in A Minor.
In the South Park episode "Trapped in the Closet"( see yesterday's Joe's Garage act 2), a satire and expose of Scientology which aired on November 16, 2005, Hayes did not appear in his role as Chef. On March 13, 2006, a statement was issued in Hayes' name, indicating that he was asking to be released from his contract with Comedy Central, citing recent episodes which satirized religious beliefs as being intolerant. "There is a place in this world for satire, but there is a time when satire ends and intolerance and bigotry towards religious beliefs of others begins," he was quoted in a press statement. The statement, however, did not directly mention Scientology.
A response from Stone said that Hayes' complaints stemmed from the show's criticism of Scientology and that he "has no problem – and he’s cashed plenty of checks – with our show making fun of Christians, Muslims, Mormons or Jews." Stone adds, " never heard a peep out of Isaac in any way until we did Scientology. He wants a different standard for religions other than his own, and to me, that is where intolerance and bigotry begin." Stone and Parker agreed to release Hayes from his contract per his request.
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O.S.T. - Shaft ( Isaac Hayes) (71 ^ 170mb)
Shaft is one of the most lasting , aswell as most successful blaxpoitation soundtracks . Isaac Hayes was undoubtedly one of the era's most accomplished soul artists, having helped elevate Stax to its esteemed status; therefore, his being chosen to score such a high-profile major-studio film shouldn't seem like a surprise. And with "Theme From Shaft," he delivered an anthem just as ambitious and revered as the film itself, a song that has only grown more treasured over the years, after having been an enormously popular hit at the time of its release. Besides this song, though, there aren't too many more radio-targeted moments here. "Soulsville" operates effectively as the sort of down-tempo ballad Hayes was most known for, just as the almost 20-minute "Do Your Thing" showcased just how impressive the Bar-Kays had become, stretching the song to unseen limits with their inventive, funky jamming. For the most part, though, this double-LP features nothing but cinematic moments of instrumentation, composed and produced by Hayes while being performed by the Bar-Kays -- some down-tempo, others quite jazzy, nothing too funky, though. Even if it's not quite as enjoyable as Curtis Mayfield's Superfly due to its emphasis on instrumentals, Shaft still remains a powerful record; one of Hayes' pinnacle moments for sure.
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01 - Theme From Shaft (Vocal) (4:39)
02 - Bumpy's Lament (1:52)
03 - Walk From Regio's (2:24)
04 - Ellie's Love Theme (3:18)
05 - Shaft's Cab Ride (1:09)
06 - Cafe Regio's (5:59)
07 - Early Sunday Morning (3:49)
08 - Be Yourself (4:30)
09 - A Friend's Place (3:22)
10 - Soulsville (Vocal) (3:48)
11 - No Name Bar (6:11)
12 - Bumpy's Blues (4:04)
13 - Shaft Strikes Again (3:04)
14 - Do Your Thing (Vocal) (19:30)
15 - The End Theme (1:55)
Isaac Hayes - Shaft (71 * 99mb)
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Isaac Hayes - Groove-A-Thon (76 ^ 99mb)
The title track employs "Shaft"-like guitar licks, but the similarity ends there: It's a lame attempt at disco done in by Ike's lazy singing and irritatingly banal lyrics. But it's the LP's only sore point. Ike returns to his roots on "Your Loving Is Much Too Strong," a slow, romantic ballad that he and his girls, Hot Buttered Soul Unlimited, make you feel. "Rock Me Easy Baby," a slinky, syncopated shuffle, has more groove appeal than the vaunted "Groove-A-Thon," mainly because Ike constructs it for maximum soul appeal by running it for more than eight exquisite minutes. The uptempo happy-in-love ditty "We've Got a Whole Lot of Love" showcases HBS' sterling voices. Ike shows a different side on the soft, longing "Wish You Were Here," whose horn arrangements and backing vocals are simultaneously enticing and titillating. After a weak opening, the album settles into a comfortable groove, ending splendidly with "Make a Little Love to Me."
01 - Groove-A-Thon (9:43)
02 - Your Loving Is Much Too Strong (5:35)
03 - Rock Me Easy Baby (8:07)
04 - We've Got A Whole Lot Of Love (5:35)
05 - Wish You Were Here (You Ought To Be Here) (5:47)
06 - Make A Little Love To Me (6:03)
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Isaac Hayes - Hot ( ^ 98mb)
"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. "Hyperbolicsyllabicsequedalymistic" trades in sappy sentiment for straight-ahead funk, highlighted by a stomping piano halfway through the song
From Hot Buttered Soul (69)
01 - Walk On By (11:55)
02 - Hyperbolicsyllabicsesquedalmistic (9:26)
From Hotbed (78)
03 - Feel Like Makin' Love (13:22)
04 - Use Me (5:42)
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Isaac Hayes - The Best of Vol. 2 ( 86 * 99mb)
Dont miss this one, late night...making love
01 - Never Can Say Goodbye (3:39)
02 - Look Of Love (11:13)
03 - Theme From The Men (4:04)
04 - Joy (15:57)
05 - Let's Stay Together (3:35)
06 - Ike's Mood (5:49)
07 - By The Time I Get To Phoenix (18:41)
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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
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