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Hot Buttered Soul
Hot Buttered Soul
Hot Buttered Soul
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Hot Buttered Soul
Studio album by
Isaac Hayes
ReleasedJune 1969[1][2]
RecordedMarch – May 1969
Studio
Genre
Length45:24
LabelEnterprise
Producer
Isaac Hayes chronology
Presenting Isaac Hayes
(1968) 		Hot Buttered Soul
(1969) 		The Isaac Hayes Movement
(1970)
Singles from Hot Buttered Soul
  1. "Walk On By" / "By the Time I Get to Phoenix"
    Released: July 1969

Hot Buttered Soul is the second studio album by American soul musician Isaac Hayes. Released in June 1969, it is recognized as a landmark recording in soul music.[5][6] Recorded with the Bar-Kays, the album features four lengthy tracks, including a 12-minute version of the Burt Bacharach/Hal David song "Walk On By" and an almost 19-minute long version of Jimmy Webb's "By the Time I Get to Phoenix;" both songs were edited significantly and released as a double A-side single in July 1969.[2]

Background

[edit]

Hayes' 1968 solo debut, Presenting Isaac Hayes, had been a poor seller for the record label Stax Records, and Hayes was about to return to his behind-the-scenes role as a producer and songwriter, when the label suddenly lost its entire back catalog after splitting with Atlantic Records in May 1968.[7]

Stax executive Al Bell decided to release an almost-instant back catalog of 27 albums and 30 singles at once, and ordered all of Stax's artists to record new material, encouraging some of Stax's prominent creative staff, including Hayes and guitarist Steve Cropper, to record solo albums.[7]

After feeling burned by the retail and creative flop of his first album, Hayes told Bell that he would not record a follow-up or any other album unless he was granted complete creative control. Since Bell had encouraged Hayes to record Presenting... in the first place, he readily agreed.[7]

Production

[edit]

Produced by Al Bell with Allen Jones and Marvell Thomas, the record was tracked by engineer Terry Manning at the Ardent Studios location on National Street in Memphis. The Bar-Kays were the tracking band, supplemented by pianist and co-producer Marvell Thomas (son of Rufus Thomas). Isaac Hayes played Hammond organ and sang the vocals live while conducting the tracking band at the same time. Much of the later production was done as part of the package of products brought to Detroit by producer Don Davis to expedite the production process. The strings and horns were arranged by Detroit arranger Johnny Allen and were recorded at United Sound Studios by engineer Ed Wolfrum with vocals and final mix at Tera Shirma by engineer Russ Terrana.[7] The producers were looking for a sweeping orchestral sound that would enhance the rhythm tracks. The pre-delay reverberation technique, recorded in part by Terry Manning on the tracking session, had been used at Artie Fields productions in Detroit in late 1950s, and at Columbia Records; it was also used by Wolfrum and others for numerous productions and commercials previous and after the release of this project including Marvin Gaye's What's Going On project, with orchestration also recorded at United. Russ Terrana went on to the engineering staff of Motown Records and was responsible for the recording and mixing of many hits on that label.[7]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStarStar[5]
BBC(favourable)[9]
Robert ChristgauC[8]
MusicHound LoungeStarStarStarStarStar[10]
Paste9.7/10[11]
Pitchfork Media9.2/10[12]
Rhapsodyfavorable[13]
Rolling StoneStarStarStarStar[14]
Stereo Review(favourable)[15]

The album was released in June 1969 and peaked at number 1 on the top R&B chart, and at number 8 on the Billboard 200.[1][16] The edited single version of "Walk On By" reached No. 30 on the Billboard Hot 100, and the edited single version of "By the Time I Get to Phoenix" reached No. 37 on the same chart.[17]

Contemporary and retrospective reviews of the album were highly positive. AllMusic ranks Hot Buttered Soul as one of the best records of Hayes's career, perhaps second only to 1971's Black Moses, and said the album pioneered new developments in R&B music for the 1970s.[5] In 2020, Rolling Stone ranked the album at number 373 in their list of the 500 Greatest Albums of All Time.[18]

American punk rock musician Henry Rollins has frequently referred to Hot Buttered Soul as one of his favorite albums.[19][20] Rollins interviewed Hayes in 1995, and the interview was reprinted in the 1998 book Do I Come Here Often? Black Coffee Blues, Part 2.[21]

Evan Minsker of Pitchfork wrote in 2017: "Hayes didn’t have any grand sales ambitions for Hot Buttered Soul, but his long cuts and high drama made him a star, one who pried the creative doors open for the artists who followed."[22]

Track listing

[edit]
Side one
No.TitleWriter(s)Length
1."Walk On By"Burt Bacharach, Hal David12:03
2."Hyperbolicsyllabicsesquedalymistic"Isaac Hayes, Alvertis Isbell9:38
Side two
No.TitleWriter(s)Length
1."One Woman"Charles Chalmers, Sandra Rhodes5:10
2."By the Time I Get to Phoenix"Jimmy Webb18:42

Personnel

[edit]

The Bar-Kays:

Technical

  • Al Bell – Producer, supervising producer
  • Bill Dahl – Liner notes
  • Kate Hoddinott – Package redesign
  • Allen Jones – Producer
  • Johnny Allen – Arranger
  • Terry Manning – Engineer
  • Bob Smith – Photography
  • Joe Tarantino – Mastering
  • Russ Terrana – Remixing
  • Honeya Thompson – Art direction
  • Christopher Whorf – Cover design
  • Ed Wolfrum – Engineer, mixing

Charts

[edit]

Weekly charts

[edit]
Weekly chart performance for Hot Buttered Soul
Chart (1969) Peak
position
US Billboard Top LPs 8
US Hot R&B LPs (Billboard)[24] 1

Certifications

[edit]
Region Certification Certified units/sales
United States (RIAA)[25] Gold 500,000^

^ Shipments figures based on certification alone.

See also

[edit]

References

[edit]

Further reading

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Hot Buttered Soul

View on Grokipedia
from Grokipedia
Hot Buttered Soul is the second studio album by American soul musician , released on September 23, 1969, by Enterprise Records, a subsidiary of . Consisting of just four tracks with a total runtime of approximately 45 minutes, the album features extended, narrative-driven interpretations of pop standards alongside original compositions, backed by lush orchestral arrangements that blended , , and symphonic elements. Produced by and Marvell Thomas, and featuring arrangements by Johnny Allen, it was recorded at in Memphis with additional string sessions in . The album's tracklist includes Hayes's 12-minute cover of Dionne Warwick's "," the original funky ballad "Hyperbolicsyllabicsesquedalymistic" clocking in at nearly 10 minutes, the concise "One Woman," and an 18-minute reimagining of Glen Campbell's "By the Time I Get to Phoenix," complete with spoken-word introductions and improvisational builds. Hayes, who handled vocals, keyboards, and conducting, was supported by the rhythm section—including bassist James Alexander and guitarist Michael Toles—along with keyboardist Marvell Thomas and a full horn and string ensemble that emphasized the album's romantic and exploratory depth. Upon release, Hot Buttered Soul shattered commercial expectations for soul albums, topping the Billboard R&B chart for 10 weeks, reaching No. 8 on the pop chart, and remaining on the R&B list for over a year while also crossing over to the jazz charts. It sold over 500,000 copies in the United States, earning Hayes widespread acclaim and launching him into superstardom, with the album's innovative structure influencing subsequent soul works by artists like Marvin Gaye on What's Going On and Barry White's orchestral style. Critics hailed it as a revolutionary pivot from singles-driven soul to album-oriented artistry, praising its emotional intensity, sophisticated production, and Hayes's charismatic delivery as a defining moment in the genre's evolution.

Background and Context

Album's Origins

In 1968, Stax Records faced severe setbacks when its distribution deal with Atlantic Records ended abruptly, resulting in the label losing ownership of its entire back catalog of recordings. This loss exacerbated financial pressures on Stax, which had already been strained by the death of Otis Redding in late 1967 and the broader economic vulnerabilities in the soul music industry. To fulfill remaining contractual obligations and secure new distribution, Stax urgently needed to produce fresh material, prompting a scramble to rebuild its roster and catalog. To address these challenges, Stax co-owner and executive devised the "Soul Explosion" initiative in early 1969, aiming to generate 27 new s and 30 singles within a compressed timeframe of about eight months. This ambitious strategy was designed to rapidly expand Stax's output, demonstrate vitality to potential distributors, and generate immediate revenue amid the label's post-1968 financial instability following the catalog's effective sale to Atlantic. ' upcoming became a key component of this plan, reflecting Bell's willingness to invest in established in-house talent during the crisis. The conception of Hot Buttered Soul emerged in early 1969 against this backdrop, driven in part by Hayes' frustration with his debut solo album, Presenting Isaac Hayes (1968), which had been a commercial disappointment. Recorded hastily on a low budget over just a few days in January 1968 at the urging of Bell—essentially on the spur of the moment after a studio party—the jazz-oriented album failed to chart and sold poorly, souring Hayes' relationship with the label despite his success as a songwriter for other Stax artists. Seeking greater artistic control, Hayes lobbied Bell for full autonomy on his next project, a request Bell granted under the Soul Explosion's flexible parameters, allowing Hayes to prioritize creative vision over commercial constraints as Stax navigated its ongoing recovery.

Hayes' Career Prior to Release

Isaac Hayes began his professional music career in Memphis, Tennessee, joining in 1964 as a and . Initially playing keyboards on numerous recordings, Hayes quickly transitioned into songwriting, forming a prolific partnership with David Porter that defined much of Stax's golden era. Together, they co-wrote landmark soul hits, including "Hold On, I'm Comin'" and "Soul Man" for the duo , which became staples of the genre and propelled Stax's commercial success in the mid-1960s. By the late 1960s, Hayes had established himself as one of Stax's most versatile contributors, co-writing over 200 songs, primarily with David Porter, and working as a and arranger on numerous recordings for the label. His multifaceted role extended beyond session work; Hayes co-produced tracks for artists like and , honing a sophisticated approach to soul arrangements that blended gospel influences with orchestral elements. This period of intensive collaboration built Hayes' reputation as a behind-the-scenes architect of , though he increasingly sought opportunities to step into the spotlight as a performer. In 1968, Hayes released his debut solo album, Presenting Isaac Hayes, a jazz-inflected collection that showcased his improvisational skills but did not chart on the due to insufficient promotion amid Stax's distribution challenges following its split from . The album's modest reception, coupled with Hayes' growing frustration over artistic constraints in the singles-driven market, fueled his push for greater creative autonomy. Influenced by the rising tide of and , Hayes advocated for extended formats and conceptual recording approaches, setting the stage for his breakthrough project. This demand for control was particularly acute during Stax's 1968 financial crisis, triggered by the of and lost distribution deals.

Production and Recording

Recording Process

The recording sessions for Hot Buttered Soul occurred from March to May 1969 at in , where the basic tracks and lead vocals were captured. These core elements were completed in a single eight-hour session, during which Hayes multitasked as vocalist, , and conductor to lay down the rhythm tracks live. Additional overdubs, including lush strings and horns, were added later at United Sound Studios in to build the album's symphonic layers. The album's format marked a departure from the concise, singles-driven structure typical of at the time, featuring just four tracks—all exceeding five minutes in length, with the longest, a reimagined cover of "By the Time I Get to Phoenix," stretching to approximately 18 minutes. This extended runtime allowed for expansive arrangements that prioritized depth over brevity, emphasizing narrative immersion over radio-friendly hooks. Hayes employed an improvisational style throughout the sessions, incorporating lengthy spoken-word introductions—such as the nearly nine-minute monologue on "By the Time I Get to Phoenix"—that transitioned into gradual orchestral swells and rhythmic grooves. The band tracked live to capture organic energy, with Hayes directing builds that layered horns and strings for a cinematic effect, often humming arrangements over the phone to coordinate remote overdubs. Initial efforts in the sessions centered on transforming familiar covers into elongated reinterpretations, notably expanding Burt Bacharach's "Walk on By" from its original two-and-a-half-minute pop version into a 12-minute soul-funk opus with drum-and-bass foundations and improvisational flourishes. This approach set the template for the album's remaining tracks, prioritizing emotional extension and sonic experimentation.

Key Contributors

The production of Hot Buttered Soul was overseen by as , who provided strategic guidance and artistic freedom to during the album's creation at . Bell's role extended to co-writing one track and ensuring the project's alignment with the label's innovative soul direction. Day-to-day production duties were handled by Allen Jones and Marvell , who collaborated closely with Hayes to shape the album's extended tracks and rhythmic structure. Jones, a veteran Stax collaborator, focused on integrating elements, while contributed keyboards and additional arrangements, drawing on his experience as 's son. Their efforts resulted in a cohesive sound that blended raw energy with orchestral depth. Johnny Allen served as the primary arranger, crafting the lush string and horn orchestrations that defined the album's "symphonic " aesthetic, particularly on expansive covers like the 12-minute "" and 18-minute "By the Time I Get to Phoenix." Working from , Allen utilized a full to overdub these elements, transforming Hayes's hummed ideas into intricate, genre-redefining layers that elevated music's emotional and textural scope. The rhythm section was anchored by the , the reformed Stax house band that provided a solid foundation following their 1968 reconstitution after the tragic 1967 plane crash. Key members including bassist James Alexander, Willie Hall, and Michael Toles laid down the grooves during Hayes's eight-hour rhythm track session at in Memphis. Isaac Hayes himself was a central , delivering lead vocals, playing keyboards such as the , and contributing to some arrangements, marking his debut in these expanded roles beyond songwriting. He conducted elements of the sessions live, simultaneously handling vocals and instrumentation to capture the album's improvisational spirit.

Musical Content

Track Listing

The album Hot Buttered Soul consists of four tracks with a total runtime of 45:33.
No.TitleWriter(s)LengthNotes
1"Walk on By"Burt Bacharach, Hal David12:03Cover of the Burt Bacharach and Hal David song originally popularized by Dionne Warwick in 1964.
2"Hyperbolicsyllabicsesquedalymistic"Isaac Hayes, Alvertis Isbell9:38Original composition.
3"One Woman"Charles Chalmers, Sandra Rhodes5:10Original composition.
4"By the Time I Get to Phoenix"Jimmy Webb18:42Cover of the Jimmy Webb song originally recorded by Glen Campbell in 1967.

Style and Innovation

Hot Buttered Soul pioneered the symphonic soul genre by fusing rhythms with orchestral strings and horns, alongside extended jazz-like improvisations that expanded the emotional and sonic palette of . This approach marked a departure from the concise, rhythm-and-blues-driven singles typical of the era, as Hayes and arranger Johnny Allen incorporated lush, chamber-like arrangements recorded in to layer over the foundational tracks cut in Memphis. The result was a rich, cinematic sound that blended the raw energy of bass lines and wah-wah guitars with sophisticated and string sections, creating a for orchestral soul that emphasized grandeur and introspection. Hayes' lyrical approach further innovated the genre through emotional, narrative spoken introductions that delved into themes of love and loss, effectively extending his interpretations of pop covers into deeply personal epics. For instance, his nearly nine-minute monologue in "By the Time I Get to Phoenix" reimagines the Jimmy Webb standard as a story of romantic turmoil, delaying the melody to build dramatic tension before erupting into vocal ornamentation and melismas influenced by traditions. Similarly, tracks like "" feature ad-libbed exclamations and back-phrased delivery that personalize the material, transforming familiar songs into vehicles for Hayes' expressiveness and improvisational flair. The album's innovations had a profound impact by shifting from the 2-3 minute single format toward expansive, album-oriented productions that prioritized conceptual cohesion over radio-friendly brevity. With only four tracks totaling over 45 minutes—including the 12-minute "" and 18-minute "By the Time I Get to Phoenix"—Hot Buttered Soul encouraged listeners to engage with soul as a narrative art form, influencing later R&B artists like and to adopt similar symphonic and improvisational techniques. A key element of this dynamic was the contrast between The ' gritty, raw horn sections and the lush orchestral backdrops, which generated tension and depth, as seen in the syncopated brass riffs underscoring Hayes' emotive solos.

Release and Commercial Success

Initial Release

Hot Buttered Soul was released on , 1969, by Enterprise Records, a subsidiary of . The album's packaging included an iconic cover image of posed in a luxurious fur coat and prominent gold chain, cultivating his persona as a sophisticated figure in . A of the lead track "" was issued as the first single in July 1969, reaching number 30 on the Billboard Hot 100. The follow-up single, "By the Time I Get to Phoenix," peaked at number 37 on the Billboard Hot 100. Although did not initially plan heavy promotion or singles releases for the album, it quickly built organic momentum through the label's robust network of radio play and regional distributors in the scene.

Chart Performance and Sales

Hot Buttered Soul marked a major commercial breakthrough for , peaking at number 8 on the chart, where it remained for 81 weeks. On the Billboard Top R&B/Hip-Hop Albums chart (then known as Best Selling Soul LPs), the album ascended to number 1, holding the top position for 10 weeks and remaining on the chart for over a year. These performances underscored the album's crossover appeal, bridging soul and pop audiences during a period dominated by shorter, single-driven releases. The album's sales were equally impressive, surpassing 1 million copies in the United States by the early . It received RIAA certification on December 12, 1969, denoting shipments of 500,000 units. Internationally, its charting was more modest, though it reached number 48 on the .

Reception and Legacy

Contemporary Reviews

Upon its release in 1969, Hot Buttered Soul received acclaim for its bold expansion of soul music conventions, with critics lauding Hayes' commanding presence and the album's lush, extended arrangements. Robert Christgau, writing in The Village Voice, called it "a smash" and a "baroque, luscious production," crediting the stunning arrangements by Hayes and Johnny Allen. However, some reviewers found the track lengths—ranging from over 12 to nearly 19 minutes—indulgent, potentially dragging despite their emotional depth, though Hayes' charismatic spoken-word interludes and vocal delivery earned widespread praise for infusing the material with personal intensity. Christgau noted this duality, observing that the songs' duration "tend to drag, but even that is part of the charm." The album garnered strong audience reception, particularly on Black radio stations, where singles like "Walk on By" received heavy airplay, propelling it to No. 1 on the R&B albums chart for 10 weeks and reflecting its immediate appeal within soul communities. This radio support underscored its cultural resonance in 1969-1970, as it crossed over to broader audiences while dominating R&B programming. Punk musician has frequently cited Hot Buttered Soul as one of his all-time favorites, recalling its impact during his formative listening in the 1970s.

Long-Term Influence

Hot Buttered Soul is widely recognized as the album that pioneered the "symphonic soul" genre, characterized by extended tracks, lush orchestral arrangements, and spoken-word introductions, which expanded the boundaries of traditional . This innovative approach influenced subsequent artists, including and , whose works in the early 1970s adopted similar expansive, cinematic elements in and . The album's style also paved the way for soundtracks, most notably Hayes' own 1971 score for Shaft, which built directly on the symphonic foundations established in Hot Buttered Soul and earned Hayes an Academy Award for Best Original Song, making him the first Black composer to win in that category. The album's cultural legacy endures as a symbol of Black empowerment within , challenging commercial norms by prioritizing artistic depth over short singles and affirming Black artists' creative autonomy during a transformative era. Its tracks, particularly "," have been extensively sampled in hip-hop, with over 139 documented uses, including 1990s productions like Wu-Tang Clan's "C.R.E.A.M." (1993), which drew from Hayes' orchestral swells and vocal phrasing to infuse rap with soulful texture. For Hayes personally, Hot Buttered Soul marked a pivotal career breakthrough, propelling him from behind-the-scenes producer to mainstream icon and setting the stage for his Shaft Oscar win, which solidified his fame and opened doors to film scoring and broader cultural visibility. The album's enduring impact is reflected in its ranking at #373 on Rolling Stone's 2020 list of the 500 Greatest Albums of All Time, underscoring its role in revolutionizing the album-oriented soul format. In 2024, marking the album's 55th anniversary, released a deluxe featuring remastered audio from the original analog tapes by engineer Dave Cooley and new , celebrating its groundbreaking influence on soul's evolution toward longer, narrative-driven compositions. This edition, available as a small-batch vinyl pressing mastered by , highlights the album's lasting revolution in prioritizing full-length artistic statements over radio-friendly singles.

Personnel and Credits

Performing Musicians

Isaac Hayes served as the lead vocalist on Hot Buttered Soul, delivering extended, emotive interpretations of the album's cover songs and originals, while also contributing on , , and organ to shape the lush, rhythmic foundation of the tracks. His multi-instrumental role allowed for seamless integration of soulful grooves with orchestral swells, particularly evident in the 18-minute rendition of "By the Time I Get to Phoenix," where his keyboard work underscores the narrative progression. The primary backing band was The Bar-Kays, whose reformed lineup following the 1967 plane crash that killed four original members infused the album with a raw, urgent energy that amplified its funk-infused soul elements. The group featured James Alexander on bass, providing the steady, pulsating low-end that drives tracks like "Hyperbolicsyllabicsesquedalymistic"; Michael Toles on guitar, adding sharp, rhythmic riffs and solos that heighten the tension in extended jams; on trumpet, contributing to the horn sections with poignant leads; Harvey Henderson on saxophone, delivering soulful fills that enhance the emotional depth; and Willie Hall on drums, whose dynamic patterns establish the album's signature laid-back yet propulsive groove. Additional performers included Marvell Thomas on and , whose keyboard arrangements complemented Hayes' playing and added layers of harmonic richness to the orchestral arrangements. The horn sections provided bold, symphonic accents that elevated the album's innovative blend of soul and string-laden orchestration, particularly in the climactic builds of "" and "One Woman." Dale Warren contributed orchestration on "." Harold Beane contributed a notable on "," injecting a moment of fiery into the track's brooding atmosphere.

Production Team

The production of Hot Buttered Soul was overseen by a team at , with serving as executive producer and ensuring the project's ambitious scope, including the integration of orchestral elements that expanded beyond typical soul recordings. Bell, as Stax's vice president, co-produced alongside Allen Jones and Marvell Thomas, guiding the album's innovative blend of spoken-word introductions, extended tracks, and symphonic arrangements. Primary recording duties fell to engineer Terry Manning at in Memphis, where he captured the core tracks featuring Hayes' vocals and the ' rhythm section, emphasizing the album's warm, immersive sound. The strings and horns were arranged by Johnny Allen and recorded separately at United Sound Systems in under engineer Ed Wolfrum, adding lush orchestral layers that marked a departure from standard soul production. Remixing was handled by Russ Terrana Jr. at Tera Shirma Studios in , refining the final mixes to highlight the album's cinematic quality.

References

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  46. https://www.pastemagazine.com/music/isaac-hayes/time-capsule-isaac-hayes-hot-buttered-soul
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