Posts Tagged ‘Isaac Hayes’

The Music Behind The Movies

March 21, 2012

Originally posted March 11, 2009

My long-time fascination with film soundtracks began – as I shared here in the first few months of this blog – with Goldfinger, the third of the James Bond films. As I wrote, my parents were reluctant at the time – I was eleven – to let me either see the movie or read Ian Fleming’s James Bond novels. But the soundtrack to Goldfinger was available through our record club, and I spent hours listening to it.

By the time I saw the film, maybe a year later, I practically had the score memorized, and I was fascinated with the way the music enhanced the movie, highlighting passages and underlining transitions. I began to pay close attention to the music whenever I went to a movie.

And I have done so ever since. Sometimes I felt like the only one. “Did you notice the music during the scene when they’re taking the car to Syracuse?” I’d ask my friends over a post-film drink.

“What about it?” one might reply.

“It echoed the main theme and also brought in the theme the composer created for the girl from Jersey.”

“Oh. No, I didn’t really notice.”

I kept listening and buying the occasional soundtrack LP (and later on, CD). My library of them isn’t large – I’ve focused far more over the years on rock, pop and soul – but generally, it’s music I still find interesting. Some of the soundtracks haven’t aged well. I bought the soundtrack to Country, the 1984 film that starred Jessica Lange, Sam Shepard and Wilford Brimley, just days after I saw the film. But the New Age music – the musicians on it recorded frequently for the Windham Hill label – hasn’t worn well, I don’t think. Some others have lasted. And I think those include the three soundtracks that I absolutely love.

The first of those is the first soundtrack I owned: Goldfinger. Written by John Barry, the score for the third of the James Bond films provides a lesson in contrasts, from the blare and rumble of the main title to the insistent music that accompanied the film’s dawn raid on Fort Knox, followed by the hushed background to the arrival of a nuclear weapon before the pounding countdown begins. Matching the music, which I knew well, to the action on the screen was like reading a primer in film-scoring.

(I dabbled with the idea of scoring and soundtrack work as a career, but nothing came of it except a deeper love for the craft.)

The second of my three favorite soundtracks is Bill Conti’s work for Rocky, the first in what became a ridiculous series of films. Conti’s use of repeated motifs, often identified with one character, remains astounding, as does the variety of moods and arrangements he finds for each motif. How much of my affection for the score is a result of the film’s ultra-romantic story of the man who was almost destined to be “just another bum from the neighborhood”? I don’t know. I have a suspicion that it might be just as accurate to say that my affection for the movie is the result of the score. Rocky might have the prefect symbiosis between story and score: Each enhances the other.

The last of the three scores that sit atop my list is Randy Newman’s work for the 1984 film, The Natural. It’s true that the film’s story – especially its ending – bears only a passing resemblance to the Bernard Malamud novel from which it was adapted. (In the novel, given a chance at redemption, Malamud’s Roy Hobbs strikes out at the critical moment and his life and career unravel.) But given the producers’ decision to make Malamud’s cautionary tale into the Great American Fable, Newman came up with a score that was tragic, triumphant and Coplandesque.

So here is one selection from each of those soundtracks and four more from soundtracks that I enjoy, if not to the degree I love the first three:

A Six-Pack of Soundtrack Selections
“Dawn Raid on Fort Knox” by John Barry from Goldfinger [1964]
“Lara’s Theme” by Maurice Jarre from Dr. Zhivago [1965]
 “No Name Bar” by Isaac Hayes from Shaft [1971]
“Going The Distance” by Bill Conti from Rocky [1976]
“Blade Runner [End Titles]” by Vangelis from Blade Runner [1982]
“The Natural” by Randy Newman from The Natural [1984]
Bonus Track
“Hymn to Red October (Main Title)” by Basil Poledouris from The Hunt For Red October [1990]

Herman’s Hermits, Lesley & Isaac

July 27, 2011

Originally posted August 14, 2008

A couple things showed up when I went digging at YouTube for video related to Tuesday’s Vinyl Record Day post. Here are Herman’s Hermits performing “My Reservation’s Been Confirmed” live in 1966 on what I think is – based on the very faint credits – Beat Beat Beat, a German television show:

I didn’t find any footage of Lesley Gore performing “That’s The Way Boys Are,” but I found some good TV footage of her performing “You Don’t Own Me.” I’d place the footage in early 1964, as “You Don’t Own Me” entered the Billboard Top Forty on January 11 that year, on its way to three weeks at No. 2.

And then, I went back to Monday’s post about Isaac Hayes and dug around YouTube for a bit. I found what appears to be footage from a documentary about Hayes’ work creating the soundtrack for Shaft, which came out in 1971. The clip shows Hayes and – I believe – the Bar-Kays running through “Cafe Regio’s” and then getting a brief bit of instruction from the movie’s director, Gordon Parks, before playing a portion of the movie’s main theme.

Video deleted.

A Baker’s Dozen Of Isaac Hayes

July 27, 2011

Originally posted August 11, 2008

The over-riding image I have of Isaac Hayes is from the Academy Awards telecast in 1972, his shaved head and gold chains gleaming as he performed the “Theme from Shaft.” I’d never seen anything like it.

But then, neither had the rest of the world.

Hayes, who crossed over Sunday at his home in Memphis at the age of sixty-five, was one of those artists who pushes past boundaries. The most obvious boundary at the time was his winning an Oscar for Best Song for the “Theme from Shaft,” as Hayes was the first black composer to win the award.

But those who knew about Hayes before Shaft already knew that he pushed limits. His 1969 album, Hot Buttered Soul, had only four tracks on it. One of those tracks, a version of Jimmy Webb’s “By The Time I Get To Phoenix,” ran 18:42, with much of the track consisting of Hayes’ ruminations about the song’s meaning in a way that some critics have said anticipated rap. I don’t know if the comparison is valid, but I’ve seen it in more than one place over the years. I do think, however, that it’s valid to say that his work on Hot Buttered Soul, Shaft and his 1971 album, Black Moses, pointed the way to the funk of the later 1970s.

Hayes’ work as a recording artist was impressive on its own; a look at the discography available at All-Music Guide is testament to that. The list runs from 1967’s Presenting Isaac Hayes to Instrumental, a 2003 anthology of work from the early 1970s. His last album of all-new material was Branded, released in 1995 along with Raw & Refined, a collection of unreleased tracks from over the years.

But the more impressive list at All-Music Guide is the one headed “Songs Composed By.” From “(Holy Matrimony) Letter to the Firm,” recorded by Foxy Brown in 1996, through “Zeke the Freak,” which Hayes recorded during a stint at Polydor in the late 1970s, the list of tracks currently available on CD runs twenty-four pages.

Add Hayes’ albums to his extraordinary writing credits, and then throw in the work he did as studio musician and producer, and you have one remarkable career. Then consider that Hayes was born in 1942 in a tin shack forty miles north of Memphis, and you have a remarkable life as well.

Here’s a selection of tracks as a salute to that career and that life.

A Baker’s Dozen of Isaac Hayes
“Theme from Shaft” by Isaac Hayes, Enterprise single 9038, 1971

“B-A-B-Y” by Carla Thomas, Stax single 195, 1966

“You Got Me Hummin’” by Cold Blood, San Francisco single 60, 1969

“Soulsville” by Isaac Hayes from the soundtrack to Shaft, 1971

“I’m A Big Girl Now” by Mable John, Stax single 225, 1967

“Hold On! I’m Comin’!” by B.B. King & Eric Clapton from Riding With the King, 2000

“You Don’t Know Like I Know” by Sam & Dave, Stax single 180, 1966

“Never Can Say Goodbye” by Isaac Hayes, Enterprise single 9031, 1971

“I Thank You” by Bonnie Raitt from The Glow, 1979

“My Baby Specializes” by Delaney & Bonnie from Home, 1968

“Little Bluebird” by Little Milton from Waiting For Little Milton, 1973

“Do Your Thing” by Isaac Hayes, Enterprise single 9042, 1971

“Lay Lady Lay” by Isaac Hayes from Tangled Up In Blues, 1999

A few notes:
Most of these don’t need commentary, I would guess. All but two of them came from Hayes’ pen, with most of those being co-written with Dave Porter of Sam & Dave, his long-time writing partner at Stax.

The three selections from Shaft – the main theme, “Soulsville” and “Do Your Thing” – were Hayes’ solo compositions. The versions of the theme and “Do Your Thing” presented here are single edits; on the official soundtrack, the theme ran 4:39 and “Do Your Thing” ran an extraordinary 19:30.

The two songs here that didn’t come from Hayes’ pen are “Never Can Say Goodbye” and, of course, “Lay Lady Lay.” The former is a single edit of a track from Hayes’ 1971 album Black Moses. “Lay Lady Lay” comes from a Bob Dylan tribute album issued by House of Blues in 1999 that’s had its title changed several times. When I bought it, it was called Tangled Up In Blues.

Edited slightly on archival posting July 27, 2011.