Hot Buttered Soul

STAX設立60周年の一環で、アイザック・ヘイズの名盤がオリジナル・アナログ・マスターから新リマスタリングで180g重量盤LP化。 リマスタリングを手掛けたのは、Elysian MastersのDave Cooley。
本作品は1969年にBillboard Soul/R&Bチャートで1位を獲得。 新機軸のソウルを提示したが画期的な作品でこの作品以降、ポピュラー音楽の幅を広げた重要作品。大ヒット曲"Walk On By"のカヴァーやシネマティっクなアレンジの"By The I Get To Phoenix"など聴きどころ満載の名盤!

Rolling Stone (p.86) - 4 stars out of 5 -- "The album was a model of free-form soul and protodisco arranging that made an ace producer-songwriter into a pop star..." Rolling Stone (4/11/02, p.108) - Ranked #46 in Rolling Stone's "50 Coolest Records" - "...Along with perhaps the greatest album cover of all time, you get endless Memphis soul grooves, slow and deep..." Paste (magazine) (p.61) - "One of the best and most grandiose albums ever recorded....It's the third cover, Jimmy Webb's 'By The Time I Get to Phoenix,' that blows minds with its 9-minute spoken intro and superlatively heraldic horns." Record Collector (magazine) (p.91) - 5 stars out of 5 -- "[G]enuinely revolutionary, signalling a way in the way soul music was consumed -- no longer as the three-minute 45, but in album form."

Released at the tail end of the '60s, Hot Buttered Soul set the precedent for how soul would evolve in the early '70s, simultaneously establishing Isaac Hayes and the Bar-Kays as major forces within black music. Though not quite as definitive as Black Moses or as well-known as Shaft, Hot Buttered Soul remains an undeniably seminal record; it stretched its songs far beyond the traditional three-to-four-minute industry norm, featured long instrumental stretches where the Bar-Kays stole the spotlight, and it introduced a new, iconic persona for soul with Hayes' tough yet sensual image. With the release of this album, Motown suddenly seemed manufactured and James Brown a bit too theatrical. Surprising many, the album features only four songs. The first, "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. The following three songs aren't quite as stunning but are still no doubt impressive: "Hyperbolicsyllabicsequedalymistic" trades in sappy sentiment for straight-ahead funk, highlighted by a stomping piano halfway through the song; "One Woman" is the least epic moment, clocking in at only five minutes, but stands as a straightforward, well-executed love ballad; and finally, there's the infamous 18-minute "By the Time I Get to Phoenix" and its lengthy monologue which slowly eases you toward the climactic, almost-orchestral finale, a beautiful way to end one of soul's timeless, landmark albums, the album that transformed Hayes into a lifelong icon. ~ Jason Birchmeier