| Isaac Hayes: The Best of The Polydor Years
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2007 compilation from the legendary Soul artist. This collection features the best of his late '70s and early '80s Polydor recordings including 'Moonlight Lovin' (Menage A Trois)', 'Out Of The Ghetto', 'Don't Let Me Be Lonely Tonight', 'Zeke The Freak' and many more. 12 tracks. Universal.
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By Patrick Frierson
The Polydor years of Isaac Hayes is generally slept on for the most part. During his brief tenure at ABC records, he released a few albums that were squarely aimed towards the then emerging disco market. While albums like Disco Connection, Juicy Fruit, and Groove a Thon had their flashes of brilliance, they were mostly inconsistent since his disco excursions often lacked the inspiration and consistency of his slow burners. After those albums failed to make a commercial impression, he moved to Polydor where he regained his footing creatively, even though he was still trying his hands at disco.
The first couple of songs on this anthology do start off with a couple of his better dance records. "Moonlight Lovin" is one of the sexiest records Isaac Hayes recorded during this era as it sounds like something that will be played in a nicely lit gentlemen's club. "Zeke the Freak" is an instrumental that's ideal for re edits since it contains a number of breaks and layers for DJ to play around with on their turntables. The next two dance songs are a lot less strong than the two opening tracks. "Out of the Ghetto" has an OK funky disco groove, but it's held back by its generic lyrics and a rather egregious hook regarding a woman moving out of the ghetto but not letting go of its way of life (I took you out of Ghetto/ but I couldn't get the ghetto out of you). His biggest hit from this era "Don't Let Go" is almost as bad as the disco remake of the Roy Hamilton hit sounds a bit too polished and fluff by his standards.
If you think with the so so quality of the first four tracks that this anthology is going to bomb, don't turn it off! The quality of this compilation gets substantially better as it wisely focuses on the best songs he recorded during this time- slow burning ballads. Tracks 5 through 12 represents some of the best slow jams he ever recorded- even compared to those he cut for Stax in my opinion. Creatively, Isaac Hayes always appeared to be more comfortable in the bedroom than the rambunctious atmosphere of a nightclub and these songs show it. Since every song in this sequence is fair game, I'm not going to comment on every single one since I want this review to be posted! One song that immediately stands out is "What Does it Take". This song is a buttery smooth captures the picture of a man and woman standing outside after the club has closed and the man asking for a little something extra. The mid tempo groove is perfect for capturing the moment of a couple leaving the club and going straight to one of their houses (it's in between being a ballad and a dance record). The song is aptly followed by "A Few More Kisses to Go" as the couple is finally alone and the smooth pulsating bassline beats with the anticipation of a romantic encounter. There's a hint of the vintage Isaac Hayes where he takes an old hit and turn it into a classic of his own with the Johnnie Taylor chestnut "Don't Let me be lonely tonight". Another song that stands out is "It's Heaven to Me" as the warm keyboard flourishes can have you picturing yourself floating on a cloud when a woman you love have you feeling a certain way. "You can't hold your Woman", "It's all in the Game", "Wherever you are", and "Lifetime Thing" are also stellar offerings with classic vocal performances and top flight production to spare.
To the ears of some, these may appear to be dismal years for Isaac Hayes. This may be true from a commercial standpoint but artistically, these are the second most essential songs in his catalog overall. These songs may not have the elaborate classical arrangements and extended spoken monologues of his Stax classics, they sparkle enough to glow a light that's majestic on its own.
By New England Pat (Virginia, USA)
This CD is a nice set of songs that perhaps signaled Isaac Hayes' passing from prominence as a soul singer. "Moonlight Lovin'" was a solid, uptempo piece that was a popular DJ favorite on jazz/R&B stations during the close of the '70s, and "Don't Let Go" was a mild hit for him but by this time, it was clear that his best years were behind him. Some other songs of note are "Out of the Ghetto", "A Few More Kisses to Go", "Don't Let Me Be Lonely Tonight" and "It's All in the Game", the old Tommy Edwards hit. The CD is a nice swan song for the great soul man from Memphis who had a lot to do with putting the Stax sound on the American music map.
By T. Lukmin (Thomaston, CT USA)
This CD of Isaac Hayes is fantastic. I didn't realize when I ordered it that it contained all long versions. I am so glad that I have this now in my collection. Now that Isaac has passed this CD is even more important to have.
By Ryan R.
I bought this cd because I've been getting into Isaac Hayes' music lately. This album was cheap so I figured I'd give it a try. Mistake on my part. It was mostly cheesy disco stuff- not the smooth "get your freak on" style I was expecting. If you are a huge Hayes fan you might want this cd for your collection, but if you're the casual listener like I am, you're much better off buying the older Stax Records cd's.
By Reginald D. Garrard (Camilla, GA USA)
Though Isaac Hayes's best years were in the late 60's and early 70's when he was a staple on Stax Records, he still had some successes, though moderate, when he moved to Polydor Records. One of his biggest hits, "Don't Let Go" (cut #4), shows that Hayes, like most artists of the day, was significantly influenced by disco.
The 9:38 long "Moonlight Lovin' (Ménage a Trois)" sounds like a melding of both Hayes' Oscar-winning "Theme from Shaft" and the extended "Joy", making for a treat for his true fans.
However, it is on the slower tracks, beginning with "What Does It Take," where the singer really shines. Though he and contemporary Barry White were often compared because both had deep basses, Hayes was more refined, clearer, and more soothing.
For the younger generation that only know Hayes for his voiceover work as "South Park's 'Chef'," this compilation is a fair introduction to the singer and may serve to spurn interest in pursuing some of Hayes's landmark Stax recordings.
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