After about seven years of inactivity on the recording front, Isaac Hayes suddenly burst forth with two albums, the all-new Branded and this curious compilation of new and old instrumental tracks dating back about a quarter-century, we think. There is no documentation to help the inquisitive listener; all David Ritz's otherwise copious liner notes say is that some of these tunes are demos going back to his days at Stax, while others were newly recorded in Memphis. So all one can do is use one's ears to put approximate dates ...
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After about seven years of inactivity on the recording front, Isaac Hayes suddenly burst forth with two albums, the all-new Branded and this curious compilation of new and old instrumental tracks dating back about a quarter-century, we think. There is no documentation to help the inquisitive listener; all David Ritz's otherwise copious liner notes say is that some of these tunes are demos going back to his days at Stax, while others were newly recorded in Memphis. So all one can do is use one's ears to put approximate dates on the material. More often than not, the usual ingredients from Hayes' early-'70s heyday are in place -- the funky rhythm section in various states of arousal; Hayes noodling at the piano, organ, synthesizer, or even alto sax; a symphony orchestra often at hand. Yet most of the time, what one hears is a soundtrack in search of a movie -- one directionless vamp after another, setting the stage for scenes that never materialize. Some vamps are more interesting than others. "Memphis Trax" sounds like an extrapolation of "Grazing in the Grass," a fairly recent hit at the time this might have been recorded. "Soul Fiddle" generates some interest with its varied structure (is that Hayes on vibes in the center of the piece?). "Southern Breeze" comes the closest to a jazz session, though Hayes never does quite let go and burn. "The Birth of Shaft" is exactly that -- a vamp waiting to happen, waiting for the burst of inspiration (specifically, the signature wah-wah guitar riff) that would make the idea take off ("Funky Junky" actually comes closer to critical mass in that regard). Ah, but there is one vocal by Hayes, a deep, sexy rap over the languorous vamp of "You Make Me Live" -- and a female chorus adds some overtly seductive charm to "Making Love at the Ocean." This is minor Hayes in the grand scheme of things, a pleasant background disc -- and as such, it should have been offered at a lower price or as a bonus disc alongside Branded. ~ Richard S. Ginell, Rovi
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