‘News’ Category
Monday, August 11th, 2008
The Stax Records and Concord Music Group family lost a great friend on Sunday when soul music giant Isaac Hayes died suddenly at the age of 65.
To the world he was Black Moses, Ike The Ripper and, later, Chef from TV’s South Park. To the rest of us who had the extraordinary opportunity to work with him in recent years, he was just Isaac. He was humble, unpretentious and refreshingly down-to-earth. Not bad for a man who delivered a record-setting seven #1 albums to the Billboard R&B chart, scored numerous awards (including multiple Grammys and 2 Academy Awards), appeared in over three dozen films and was named a Royal King of Ghana along the way.
In the ‘60s, the Covington, Tenn. native helped define the Stax Records sound, co-writing with David Porter such hits as “Soul Man,” “Hold On (I’m Coming),” “B-A-B-Y,” and “When Something Is Wrong With My Baby” for Sam & Dave, Carla Thomas and Johnnie Taylor, among others.
He took soul music in a new direction with his 1969 album Hot Buttered Soul, which featured expansive re-interpretations of Jimmy Webb’s “By the Time I Get to Phoenix” and Bacharach and David’s “Walk On By.” The music’s impact was matched only by the visual impact of the record’s cover, which featured Hayes’ signature bald head, gold chains and bare chest.
Two years later, his “Theme From Shaft” exploded on the pop and R&B charts, putting him on the map as an artist and icon. The rat-a-tat of that lone high-hat, that cultural-shifting kick of the wah-wah pedal — no other piece of music signaled the true end of the ’60s, ushering in the gritty 1970s than Isaac Hayes’ theme from Shaft. The song won him not only a Grammy but two Oscars, for “Best Song” and “Best Score” in 1972. That same year he won a Grammy for his double album Black Moses. The hits continued for Hayes throughout the ‘70s.
In later years, Hayes’ career took some other directions. He became the voice of Nickelodeon’s Nick at Nite and later the voice of Chef in the animated series South Park. He had a role in the upcoming movie Soul Men with stars Samuel L. Jackson and Bernie Mac (who also died this past weekend).
In 2007, Hayes participated in the Stax Records 50th Anniversary celebration shows in Memphis, Austin and Los Angeles. Despite health problems that slowed him down in recent years, he continued to tour the world. He had proudly returned to Stax Records, both as an artist and as an advisor in planning the reactivation of the imprint in 2007 by Concord Music Group. Isaac was also in the process of recording a new album for Stax.
To borrow a phrase from the man himself, he was “one bad mutha.” And through the music he so generously left behind, the world will be talking about him and more importantly listening for lifetimes to come. Concord Music Group president and CEO Glen Barros states, “Isaac Hayes exemplified all that is Stax. We are all very fortunate to have worked with a visionary who changed music in indelible and profound ways. His talent was matched only by his kindness of spirit. On behalf of the entire Concord/Stax family we express our deep sympathies to his family, friends and fans all over the world.”
Gene Rumsey, Concord Music Group general manager added, “The enduring influence of Stax Records could only have been made possible through Isaac’s brilliant song-writing which laid the ground work for the future generations of rap, hip-hop, and soul. Isaac played a pivotal role in the recent re-launch of Stax, once again infusing the label with his creativity, inspiring a whole new breed of Stax artists. Our condolences go out to all the people whose lives Isaac touched throughout his unparalleled career and lifetime.”
John Burk, executive VP and chief creative officer, Concord Music Group, states, “Isaac had a profound and multifaceted impact on the Stax label, contributing to its legacy as a writer, producer, arranger, studio musician, A&R executive and, of course, one of its most successful artists. Having collaborated closely with Isaac during the past few years, I came to know the man behind the music and his deep love for humanity. He was an extraordinary individual who used his talents to inspire and unite people from all walks of life. I feel tremendously privileged to have had the opportunity to work along side this giant of a man.”
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Friday, July 25th, 2008
Pop music is replete with inspired – if sometimes unusual – pairings. Think Tony Bennett and Christina Aguilera (”Steppin’ Out”), Tanya Tucker and Little Richard (a cover of Eddie Cochran’s “Somethin’ Else”) and lest we forget, Michael Jackson and Paul McCartney: who can forget “Ebony & Ivory”! Less left field but certainly as inspired is the teaming of Stax legend Steve Cropper (who must have played guitar on hundreds and hundreds of Memphis-made tracks) and Felix Cavaliere, the vocally distinctive lead singer and keyboardist with The (Young) Rascals, New York-based blue-eyed soul purveyors best known for ‘60s classics like “Groovin,’” “People Got To Be Free” and “How Can I Be Sure.”
The catalyst for bringing Cropper and Cavaliere together on disc, producer Jon Tiven, whose eclectic discography includes such names as Robert Plant, bluesman Little Milton, soul legends Wilson Pickett, Freddie Scott, Sir Mack Rice, Syl Johnson and Betty Harris. Clearly, the Nashville-based Tiven knew a thing or two about making authentically soulful music and the teaming of Steve and Felix was, it turns out, a musical ‘natural.’ With some serious players in support (try drummer Chester Thompson, who has worked with Frank Zappa, Genesis and John Forgerty; and Curtis Mayfield protégé, bassist Shake Anderson), the new Stax/Concord album “Nudge It Up A Notch” is solid.
The opening cut “One Of Those Days” – like much of the rest of the twelve cuts – marries Cropper’s renowned bluesy licks with Cavaliere’s R&B-tinged vocal style and the result is a movin’ groover. “If It Wasn’t For Loving You,” co-penned by the two performers and Tiven, is a personal favorite, with echoes of the kind of ‘60s sweet soul music that UK R&B aficionados (like myself) particularly loved. “Without You” is strong melodically and lyrically while we are treated to a couple of fine Cropper-led instrumentals (“Full Moon Tonight,” “Cuttin’ It Close” and the ska-flavored “Jamaica Delight”); only curveball is “Make The Time Go Faster” with some very awkward rap passage or two! Soul men they be but hip-hop masters, well….not.
With David Z (of Prince fame) lending his mixing skills, “Nudge It Up A Notch” is a satisfying example of a musical match that truly works. Now Cropper and Tony Bennett might be a real interesting follow up!
David Nathan
a/k/a “The British Ambassador Of Soul”
Owner,
www.soulmusic.com,
www.soulmusicstore.com,
www.soulmusicglobal.com
Secretary, The Rhythm & Blues Foundation (www.rhythmblues.org)
Senior Contributing Writer, Blues & Soul (www.bluesandsoul.com)
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Monday, July 14th, 2008
When Stax Records released Isaac Hayes’ second album in 1969, it was unlikely that anyone at the label considered that it might be the kind of groundbreaking record it became on so many levels. Hayes had already been a highly successful producer and songwriter for the label and even if he had ambitions as a solo artist, the lack of response to his first LP, 1967’s “Presenting Isaac Hayes” did not bode well. But “Hot Buttered Soul” was light years ahead of Ike’s debut set: with just four tracks, The Bar-Kays playing brilliantly, an unnamed female coterie of background vocalists and the Memphis Symphony Orchestra providing a sumptuous backdrop, Hayes embellished two classic songs of the day – the Bacharach/David-Dionne Warwick 1964 hit “Walk On By” and Glen Campbell’s “By The Time I Get To Phoenix” – adding vocal nuances, a soulful emphasis (particularly on ‘Phoenix,’ a country-flavored pop ode, for which Hayes created an unforgettable opening monologue) and his own distinctive baritone.
For good measure, there were two original tunes, “One Woman” (later recorded by Al Green) and Hayes’ own unpronounceable but compellingly funky “Hyperbolicsyllabicsequedalymistic” but undoubtedly, the two cover tunes (covering a total of thirty minutes of music between them) served as masterful bookends, making “Hot Buttered Soul” unlike any other piece of work geared towards an R&B/soul audience at the time.
The climactic build-up Hayes offered on both “Walk On By” and “Phoenix” was breathtaking: lyricist Hal David probably never envisaged the insertion of the phrase ‘you socked it to me, mama’ into his bittersweet tale of a broken love affair and composer Jim Webb likely never imagined Ike’s slice-of-life-and-love, eight-and-a-half minute philosophical rap that preceded the stirring interpretation Hayes brought to his tune. Personally, it was a little tough for me to get used to the ‘new’ way Ike approached “Walk On By”: it was the record by Dionne Warwick that first ‘introduced’ me to soul music and set me on the pathway to a lifelong passion and indeed, an entire career! I eventually came to enjoy and appreciate the Hayes’ version once I stopped comparing the two; and years later, when I saw Isaac and Dionne in concert as part of a nationwide tour (known as ‘A Man And A Woman’), I fully recognized just how much deep appreciation and admiration Ike felt for Dionne’s music.
“Hot Buttered Soul” – recently reissued by Concord in glorious 120 gram vinyl due to the increased interest and demand among collectors (and also available on CD) – not only established Isaac Hayes as a contemporary musical icon, it gave Stax Records a massive best-seller, at the same time initiating a whole new approach to albums by black music artists of the day. It’s no surprise that it sounds as good now as it did in ’69.
David Nathan
A/k/a the British Ambassador Of Soul
Secretary, The Rhythm & Blues Foundation (www.rhythmblues.org)
Owner,
www.soulmusic.com,
www.soulmusicstore.com,
www.soulmusicglobal.com
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Monday, June 16th, 2008
“The two things that people keep telling me about my new record (“Self Potrait,” just released on Stax/Concord) are that they can listen to it all the way through as a body of work – and that’s really beautiful. And, a lot of people will say, ‘Girl, I love your father but I love you too!’ I’m getting so much love from just being my father’s daughter and that’s very gratifying.”
Lalah Hathaway is speaking of Donny and in a June 16 interview, she says, “Being with Stax Records is very exciting for me since so many of my Dad’s contemporaries were at the label…” Much like her father’s work, Lalah’s latest project is introspective and very personal. She considers some of the songs: “Well, “What Goes Around” was inspired by a particular incident in my life that had me look at the overall concept of ‘reap what you sow.’ The song “Learning To Swim” was literal – it was written in 1993 when I was in Bermuda and some friends were teaching me how to swim! The song is metaphorical for me…I’m constantly re-learning things. “Tragic Inevitability” was also inspired by a personal situation: the track was done by two of the musicians who are in the band that travels with the ‘Daughters Of Soul’ show (done with Nina Simone’s daughter Simone, Chaka Khan’s daughter Milini and Sandra St. Victor, among others) and I told the guys I wanted something like a Bjork, Ambient, Radiohead kind of track. I literally came up with the lyrics standing at the microphone! And “On Your Own”? When I first started working on the album with (producer) Rex Rideout, he played me the track: it had similar vibe and feel to “Forever, For Always, For Love” (the title track featuring Lalah on the 2007 tribute album to Luther Vandross) but I didn’t want to do anything with it at first. I came back to it – it was the last song I did for the album and it was inspired by a dream I had in which my father was giving me all this music. So many people who knew my Dad say we are so much alike…” (A footnote: unbeknownst to Lalah, her father in fact had recorded a song called “Make It On Your Own” which has remained in Atlantic’s vaults since 1971; she was understandably shocked when I revealed that the song even existed with a title so similar to her own new recording).
Just off the road for week after doing shows and promoting “Self Portrait,” Lalah considers her career is “a funny thing. I haven’t sold millions of records, I haven’t had any gold records, no number ones but I still feel very successful. My dogs are fed, I have a great group of friends, I don’t really want for anything… I’m able to work even when I don’t have a record out…I’ve been able to do what I love for almost twenty years: my career’s very fulfilling and I’ve been very blessed…”
Singular in her approach to her work, Lalah is one of the few artists – and certainly the only one who comes to mind of her generation – who understands the importance of space and silence in between words. Her father’s occasional duet partner Roberta Flack has the same gift. Having seen Lalah in concert on a few occasions, I can’t wait to hear the music on “Self Portrait” brought to life in performance.
David Nathan
A/k/a the British Ambassador Of Soul
Secretary, The Rhythm & Blues Foundation (www.rhythmblues.org)
Owner,
www.soulmusic.com,
www.soulmusicstore.com,
www.soulmusicglobal.com
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